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Copyright of Lengas is the property of Presses Universitaires de la Mediterranee and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Founded in 1922 after an agreement between the French and Bulgarian governments, the French Institute in Sofia, opened the same year by the Minister of Public Instruction at the time, Mr. Omarcevski, introduced a new element of political support to the French culture and its institutions in Bulgaria compared to the first French Institutes, created at the beginning of the century. On the other hand, this Institute has established itself as the almost essential intermediary between the University of Sofia and the French universities at that time, with a significant contribution to the development of the Francophonie in Bulgaria, which brings it closer to its predecessors in Florence and Athens. The Sofia Institute has continued to develop. It is far from being a simple instrument for disseminating French culture in Bulgaria. In view of its organization and its historical operation, this institution seems to be, since 1937 and still today, a good example, in the spirit and according to the conception of perspective of the contemporary French Institute. [ABSTRACT FROM AUTHOR]

In this paper I propose to question the way in which coloniality and Western hegemony affect Francophone theatrical creation as an example of issues which, historically constructed through the prism of a Eurocentric ideology, go beyond the artistic dimension. This focus makes it possible to frame the analysis on aspects of representation, and thus to question the political and cultural aspects of the artistic practices taking place within the dynamics of Franco-African relations. I will show these issues starting with Baâda, le malade imaginaire by the Burkinabe company Marbayassa, a cooperative adaptation with an intercultural vocation. By turning to the theatre to rethink the whole range of cultural products from the point of view of performance and forms of domination, the analysis shows the relationships between theatrical creation, cultural institutions, and economic and political logics. The analysis highlights the ways in which artistic productions convey representations that can favour the fabrication of an aestheticization of difference and the risks of ethnocentric representation, notably in the forms of exoticism of the body and of the imagination. In the conflict between hybridisation and cultural homogenisation that interculturality brings about, this allows to keep in mind the imposition of a knowledge/power that is both marginalising and phagocytising. [ABSTRACT FROM AUTHOR]

From 1896 to 1940, the "Lettres étrangères" section of the Mercure de France magazine presented foreign literatures and cultures in the form of more or less regular columns aimed at a cultivated Frenchspeaking readership. Romania made its debut in 1905 under the pen of Marcel Montandon, a Swiss art critic and columnist born in Bucharest and living in Munich, who delivered 38 in-depth and regular articles until 1914. The presentation of this little-known corpus and its author provides an insight into the wealth of Romanian cultural production during this period, the arguments of the time and the choices and opinions of the author, standing as a cultural mediator between two intellectual worlds. [ABSTRACT FROM AUTHOR]

Copyright of Recherches Sociographiques is the property of Recherches Sociographiques and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This work looks at indigenous rap as a form of struggle and resistance of traditional peoples. Following is a counterculture current follows, which through a hybrid narrative of the Guarani and Portuguese languages, makes an increasing journey, recruiting new generations to join the struggles for the demarcation of indigenous lands. This musical style also brings denunciations of racism and prejudice against indigenous people by portraying the invisibility and/or hostility to which non-indigenous people in urban areas are subjected. This sociological essay seeks to present the forms of visibility of indigenous struggles, namely cultural production, narrative, social interaction and the formation of groups through the hip-hop musical style. We will see how the initiative of the first indigenous rap group in Brazil bear witness to the rise, organization and resistance of indigenous peoples in the defense of their lands.

This work focuses on a tradition of empirical research on popular music that is still underdeveloped in Italy, at least for what concern the particular musical event that is the ‘live concert’. It is progressively diversifying its forms and manifestations and multiplying its presence on the national territory and it is eventually become more and more an object of fecund analysis. As a typical moment of the representation of popular music, then, this work, through an ethnography of the main music festivals existing on the contemporary Italian scene, questions the intertwining of the two dimensions – the commercial and the aesthetic one – which are at the base of this particular field of cultural production.

In the last ten years, studies on cultural production have dramatically increased in number and in the variety of issues embraced. The focus on production instead of consumption gives more opportunities to study the intertwined processes involving institutions, discourses, media, social agents, material culture and practices. This editorial introduces briefly the essays presented in this issue, which includes contributions analysing the cultural construction of a neighbourhood and the relative feeling of belonging, the cultural construction of the category of ‘music festival’ and the relative practices, a study on Italian radio dramas, and two essays focusing on as many specific fields of cultural production – literature and the arts. The distinctive quality of this monographic issue of LCM lies in its multidisciplinary approach and in the complementarity of the articles it features.

This study aims to elucidate the key characteristics of the critical text from both a symbolic and a pragmatic viewpoint. My perspective combines the Bourdieusian notion of literary field with a development of Genette’s theories on the nature of paratext. On the one hand, critical texts should be considered, from a pragmatic viewpoint, as a quadratic position-taking: i.e., as a position-taking focused on another position-taking, which coincides with the literary text. On the other hand, critical texts can be regarded as part of the paratext, and, precisely, as a special allographic epitext that cannot be reduced to the author’s will. Hence, this material and interactional position-taking has crucial semantic consequences, being embodied in five hermeneutic devices, i.e.: selection, interpretative description, comparison, framing and explicit valorization. By providing a specific slant on the literary text, the critical text triggers assessment dynamics and sometimes paves the way to several forms of mutual interaction between authors and critics. To illustrate my point, I explore the relationship between the famous dramatist Luigi Pirandello and one of his most important critics, Adriano Tilgher, a philosopher and an intellectual under whose influence Pirandello reshaped his self-interpretation. First, I analyse their mutual exchange by taking into account their crossing trajectories within the complex and stratified field of cultural production of 1910-20s Italy. Then, I explore Tilgher’s critical reviews and papers on Pirandello’s works with a view to identifying his use of the five hermeneutical devices discussed above. In the conclusions, I highlight the importance of this double bind between author and critic, which had a huge impact on both the assessment dynamics and the creative outcomes of their careers.

This article analyses the Western Sahraouian nation from the perspective of its nationalist efforts, which, in derivative interaction with its enemies, rely on revolutionary cultural production. The cultural struggle supports, influences and constitutes the emancipatory political discourse, which for decades has manifested from beyond the claimed territory. In a post-colonial context, particular nuances frame this ideological confrontation, such as the consolidation and parallel mutation of the national identity and associated cultural production, in exile. [ABSTRACT FROM AUTHOR]

The article informs about the report of the Bishop of Meaux to the Italian peninsula of the Old Regime with foreign countries in the cultural productions. Topics include process of dissociation between the bond of confessional affiliation and the relationship of civil subjugation among preachers, controversists and historians; and cradle of humanism and the Counter-Reformation at home with its geographical neighbors.

The visual records, and the discourses they transmit, or that emit them, generate social readings and contribute to the construction of a collective imaginary. This article proposes to accomplish a reflection about the imaginary in function of the subjects who live in the countryside, more specifically children and rural children, through one of the main symbols of representation of the Brazilian peasant child, the character of Chico Bento, created by the cartoonist Mauricio de Sousa. It is observed that this visual production, produced in the urban context and addressed especially to the inhabitants of the city, often (re)produces discourses about the peasantry and its subject and its subjects permeated by stereotypes and prejudices. In this case, it is considered that the imagistic cultural production has great relevance in the construction of the look and the social reading that is directed to it.

During World War II the Getúlio Vargas regime transmitted seemingly paradoxical messages about Brazil’s racial makeup and values. On the one hand the state lauded Brazil’s legendary multiracialism and articulated antiracist ideals of inclusion. On the other hand the Estado Novo hid Brazil’s populations of color and expressed the desire for the nation to attain whiteness. Focusing on its cultural work to the United States, this article argues that both forms of racial nationalism supported the Vargas regime’s efforts to be accepted as a democracy alongside the western Allies.

L'omniprésence du discours " néo-réactionnaire " dans le débat public est un des phénoménes les plus remarquables de ce début de siécle. Alors qu'il continue de s'amplifier et pése plus que jamais dans l'espace idéologique fran?ais, il semble opportun de tester les limites de la théorisation actuelle de ce courant hétéroclite dont la dimension populaire n'a peut-etre pas été appréciée a sa juste valeur. Cet essai démontre que le discours " néo-réactionnaire " commence aussi a etre pris en charge par d'autres acteurs, en revetant notamment des formes plus populaires comme la musique qui investissent d'autres lieux du quotidien, touchent d'autres publics et différentes générations, tout en empruntant des canaux de diffusion paralléles a ceux des intellectuels généralement associés au mouvement. Il s'agira d'examiner, a travers une réflexion sur le rappeur contemporain Kroc Blanc, un tel vecteur " alternatif " de propagation du discours " néo-réactionnaire " : le rap identitaire. [ABSTRACT FROM AUTHOR]

The article focuses on how to study Islam in the social sciences and falling into a essentializing culturalism that observes Islam from Morocco to Indonesia. It mentions role of Islam in societies by breaking the strait jacket of textual genealogies and placing at the center of research the question of the dialectic between society and cultural production. It also mentions nationalist Maghreb historiographies have insisted on the use of Islam in resistance to colonization.

In this interview, Georgina Born retraces the origins of two of her major ethnographic studies, at Ircam and the BBC, and delves into how she developed her specific, interdisciplinary methodology. She makes a convincing case for reading outside disciplinary borders, and discusses how her research has changed as she has become more established. Her critics are addressed, and the interview ends with a glance to future projects which aim to bring together the various threads her research has explored over the years.

The article provides information on the popularity of Wikipedia including collaborative work systems from the free software model, several aspects of the intellectual property system and digital to forms of premodern textuality. Topics include cultural production and regulation based on property and sociopolitics.

How free can intellectuals (writers, poets, and artists) continue to exist in a political system that exercises a huge amount of pressure, control, and censorship, forcing them to conform to its heavily skewed ideological and historical perspectives? The core question of a dispute among Iraqi intellectuals since 2003 has been: Who has the right to speak for Iraq? This question underlines the need to delve deeper; it touches upon the urgency of re-examining the political and cultural dynamics of Baathist rule, the cultural institutions of which provided a restrictive framework within an overall atmosphere of intimidation, control, and surveillance. During this time, Iraqi intellectuals took on various attitudes, varying from compliance and collaboration, to resistance to the system or outright exile. The rift between Iraqi intellectuals is mostly between those on the “inside” and those on the “outside.” This paper discusses the relationship between intellectuals and power and the peculiarities of Iraqi cultural production in Baathist times, and then analyses the role of intellectuals through two case studies, debating the strategies of survival and complicity.

An introduction is presented in which the editor discusses various articles within the issue on topics including internet users, YouTubers, and cultural productions.

El presente trabajo se centra en los saberes y prácticas referidos a la producción artesanal del pueblo Qom en la ciudad de Rosario, provincia de Santa Fe, Argentina. Abordamos distintos rubros productivos, como: cestería, alfarería, tejido, confección de arcos y flechas y realización de collares; formas productivas individuales y/o familiares y; tipos de organización, como: cooperativas, asociaciones y grupos independientes presentes en la mencionada ciudad. La producción y venta de artesanías es parte de las estrategias económicas dentro del contexto urbano, a la vez que motivo de reivindicación identitaria en el conjunto de toda una serie de luchas que incluyen aspectos políticos, sociales y culturales.The present work concentrates in knowledge and practicing referred to handcraft production of Qom people. We approach different productive headings as: basketry, pottery, netting, arch and arrow production and necklace manufacture, individual or domestic ways of production and different sorts of organization as: cooperative activity, associations and independent (free) groups settled en the mentioned City. The production and selling of handcrafts is a part of economic strategies inside the urban context, and at the same time the recovery of identity of a long series of struggles including social, cultural and political aspects.

This article discusses the so-called artistic avant-garde in the twenty-first century, particularly in regard to theatre and performance art; in other words, this text brings into question the current state of those forms of expression. It discusses the concepts of avant-garde, nicheguard and conservatism in order to deal with the conservative status of the avant-garde in the group of artistic expressions mentioned above, that actually merely repeats previous achievements rather than proposing new forms of transgression and disruption of the established order, including the one that running the art system. The article is based on the idea that the avant-garde exists in three realms simultaneously – as a living tradition, as a brand, and as the echo or ghost of the provocation it once was.

Spain is nowadays said and known to be fully European. This common acknowledgement was, nevertheless, not that straightforwardly assumed only some decades ago. How, if at all, did Spain become European in cultural terms, that is, how did its mental attitudes, its elected traditions, its exercise of judgement or its cultural production change over the XXth century? This essay considers the issue in the light of the ideas brought forward by three Spanish thinkers -Ganivet, Unamuno and Ortega y Gasset- who specifically tackled the question of Spain’s cultural adequacy -or particularity in relation- to Europe.

Copyright of L'Homme: Revue Française d'Anthropologie is the property of Editions EHESS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Volume! is the property of Editions Melanie Seteun and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Romanian Journal of Journalism & Communication / Revista Română de Jurnalism şi Comunicare- RRJC is the property of Romanian Journal of Journalism & Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Recherches Feministes is the property of Groupe de Recherche et d'Echange Multidisciplinaires Feministes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Raison Presente is the property of Nouvelles Editions Rationalistes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Abstract: Psychology is envisaged in this article as a “cultural product” of the Western World. The Greek etymology of the word itself and the history of the discipline indicate the cultural origin of psychology and justify questioning the universal value of concepts wrought in the midst of the western context. Following its birth at the end of the 19th century, psychology, emancipated relatively to philosophy from which it came and claiming it was following the model of natural science, pretended finding an extension of laws governing natural phenomena in man. But the epistemological crisis exemplified by the works of W. Dilthey (1883) led to the now classical opposition between natural sciences and social sciences. Concurrently, the question of meaning became paramount in the field of clinical psychology and of psychopathology. If the historical perspective clearly shows the western sources of psychology the notion of Western World remains to be defined. This definition is essentially cultural and the author examines both the ideal of mastery and control and the project of conquest of western man symbolised by the Promethean myth. The missionary enterprise and the civilising action of the Western World were underlain by the conviction that western civilisation was the incarnation of an ideal model of culture that had attained perfection. Toward the middle of the 20th century the universalist view of psychology was shaken by the recognition of cultural differences more particularly identified in the field of psychopathology. The transcultural perspective, with the notion of a basic personality, showed up the specificity of western mentality. It also showed up two essential traditional dimensions of western thought: the dualism at the origin of the development of science and technology and the individualism that favoured interest in the individual, in his mental life, in its cognitive and affective aspirations and in the meanders of his interior life. The questioning of the universal value of psychology as it is currently envisaged, applied and taught in the Western World is inseparable from the debate relative to the epistemological statute of the discipline. This could be formulated as follows: should psychology be considered as a science of nature or as a science of subjectivity? Psychopathology is exemplary in showing the necessity of the recourse to a specific anthropological model to render the problems that are observed and the proposed interpretations intelligible as both the problems and the interpretations differ according to the cultural context within which they are expressed. Beginning in the 1940’s American works, by denouncing the potential dangers of a standardizing approach of psychic problems, showed the lack of references to nature and underlined the requirements of analysing the cultural milieu. For the last fifty years or so the encounters with historical and cultural realities foreign to the Western World that were nevertheless coherent, and the discovery of different models that had their own pertinence have shaken the secular confidence in the unbeatable superiority of western knowledge. Comparing the western model of the person to the traditional African model, the author tries to show the relation between the diversity of psychopathological expressions and the plurality of cultural models that are encountered. Autonomy and interiority are characteristic traits of the person in the West, however, in Africa, the person is defined by the explicit bonds that guarantee its unity and coherence by connecting it to family, community and spiritual axes. The field of psychopathology turns out to be particularly heuristic to show up the interest and necessity of taking into account models of representation of the world and of man which, if they are different from those with which we are familiar, are not the less useful, and even necessary to listen to man’s suffering and to try to give it meaning in the midst of a cultural universe which is incomprehensible using only the key of Western discourse. The author claims the interest of an ethnopsychology and concludes by indicating the necessity of taking into account cultural specificities not only in the domain of psychopathology but also in the other fields of psychology, including those concerned with measurement that is supposed to guarantee their objectivity, scientific nature and universality. [Copyright &y& Elsevier]

Copyright of Bulletin des bibliothèques de France is the property of ENSSIB and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cahiers de Sociologie Economique et Culturelle is the property of Institut de sociologie economique et culturelle (ISEC) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Swiss Journal of Sociology / Schweizerische Zeitschrift für Soziologie is the property of Sciendo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Resumo: A tessitura deste trabalho abarca a biologia como produção cultural e discute seus significados em passagens pela literatura de Monteiro Lobato, particularmente na obra "A Chave do Tamanho". Traços biológicos (situados segundo Derrida) como tamanho, evolução, mundo biológico se hidridizam e se mesclam a outros significados e apontam relações e significações que se dão entre espaços - diferenças - dos múltiplos conhecimentos. Discutem-se as relações de diferenças que se estabelecem entre a Literatura e Biologia - hibridizando-as - e a intensidade de narrativas que trazem traços de crenças, valores, interesses políticos no discurso científico e que são arrastados para a Literatura.