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Copyright of Methaodos: Social Science Journal / Methaodos: Revista de Ciencias Sociales is the property of Departamento de Ciencias de la Comunicacion y Sociologia, Universidad Rey Juan Carlos 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.)

Ain't I a Woman? This question was raised by activist and self-emancipated former slavewoman Sojourner Truth, who validly questioned the body politic of identity when contextualized to perceptions of female personhood. Essentially, what Truth challenged were presumptions about the standards set to revere female bodies through markers of genteel Whiteness, while the worth of embodied Blackness, precisely the beauty of Black women, is reviled. In this article, I seek to raise awareness about factors of patriarchy and societal ramifications. Patriarchy is a systematized phenomenology of norms privileging the male gaze. The White male gaze, particularly in strongholds of power, influences the body politic of communal identity. Black women tend to lean on their faith to embody strength, yet patriarchy also encumbers the gendered body politic in religious spheres. As a womanist scholar, my analysis considers the intricate roles that patriarchy holds in the cultural production of a genteel, pretty woman image, wherein the aura of Whiteness grounds a body politic that deems Blackness as other. Despite the influences of prevailing macrosystems, I propose a theoethic of self-love to push against negatively biased identity boundaries by affirming ways to embrace Black beauty with a subversive imperative to love oneself regardless. [ABSTRACT FROM AUTHOR]

St. John's wort (Hypericum perforatum L.) is a medicinal and aromatic plant of rapidly increasing importance. The cultural production of this species, which is of economic importance due to its medicinal properties, is limited. One of the main ways to increase production is to develop cultivars. Thus, the homogeneous raw material required for a standard product will be provided. This study aimed to determine the characteristics of natural populations to obtain productive cultivars with high hypericin and hyperforin that can meet market demands. In addition to yield and quality values, other characteristic features of the plant such as flower diameter, petal length and petal width, which directly affect productivity, were revealed in the study. The study was conducted under field conditions for two years with three replications. Fresh flower weight among the populations varied between 30.15 and 240.28 g/plant, while the hypericin ratio varied between 51.32 and 105.31 (mg/100 g). The study determined a wide variation among the populations, and the populations with superior characteristics were included in the breeding program. [ABSTRACT FROM AUTHOR]

The First Intermediate Period was a time of cultural innovation and social competition. The collapse of the monarchy and the cultural productions it sponsored paved the way for the emergence of new artistic and cultural expressions, better adapted to a context of fragile authorities and competing local powers. Warfare between rival regional polities became frequent, so tomb scenes and funerary stelae from Middle and Upper Egypt began depicting military actions and men posing as archers. Moreover, local authorities sought the support of local levies and fellow citizens to strengthen and legitimate their fragile rule. Therefore, many monuments and inscriptions celebrate successful command, effective leadership, and caring about one's city and its inhabitants. These conditions favoured the emergence of cultural innovations and social values aiming to express new identities. Depicting weapons, mainly bows, was crucial in this respect in some areas of Southern Egypt and echoed comparable phenomena occurring in neighbour regions like Nubia and the Levant. [ABSTRACT FROM AUTHOR]

This research was conducted with the aim of formulating and explaining a model for national production prosperity based on an integrated approach. The research was both practically oriented and a combination of exploratory nature, employing a mixed-method sequential approach (qualitative-quantitative) to investigate the research topic. Initially, through exploratory interviews with experts and their coding using three coding techniques (open, axial, and selective), the factors and components influencing the formation of the production prosperity pattern were identified. Subsequently, based on the identified factors and components, a research questionnaire was developed. After confirming its validity and reliability, the questionnaire was utilized to gather quantitative data for testing and validating the research model. Research participants in the qualitative phase included university experts familiar with the research subject, selected through snowball sampling, while in the quantitative phase, senior managers, supervisors, production managers, and sales managers of selected active companies in Yazd province were included, utilizing convenience sampling. Given the mixed nature of the current research, data analysis methods in the qualitative section involved using coding techniques (open, axial, and selective) with the aid of MAXQDA software. In the quantitative section, data collected through the questionnaire were analyzed using SMARTPLS and SPSS software at a 95% confidence level. The research findings indicated that six factors (dimensions) and 18 associated components play a role in shaping the production prosperity pattern. These dimensions encompass economic production indicators (3 components), social production indicators (3 components), technological production indicators (3 components), environmental production indicators (3 components), political production indicators (3 components), and cultural production indicators (3 components). After forming the research model in the qualitative phase, the model underwent testing and validation in the quantitative phase. The results indicated its validity, considering the significant values obtained (with a significance level below 0.05). The research model's paths were found to be significant at the mentioned confidence level, indicating that all proposed paths in the suggested model are confirmed. Moreover, model fit indices, including NFI, SRMR, and RMS THETA, also suggested the adequacy of the research model fit. [ABSTRACT FROM AUTHOR]

Contestation among traditional art performances, in the technology and information era, creates complex and diverse challenge to the dance of Reog Bulkiyo. In 1999, the dance had to be stopped following the regeneration and economical problem. Although Reog Bulkiyo has been performed again since 2009, the conditions which makes this dance can be produced is still inexplicable. This article attempts to explain why dance experiencing production and activity stagnation. Pierre Bourdieu’s cultural production theory is used to analyze this problem, while ethnographic qualitative is used as the method. This study found that Reog Bulkiyo dance is in the arena of traditional dance art which has a double-tiered structure. The first structure leads to popular culture, while the second structure leads to art culture. In the first structure, Reog Bulkiyo dance group uses relational capital with relatives, social and Islamic groups to survive in the midst of competition with other popular arts. The dance then gains a relationship with the academy and the state which provides relational, cultural, and symbolic capital in the form of granting intangible cultural heritage status. These two relations give Reog Bulkiyo dance group the opportunity to maintain its cultural production.

Contestation among traditional art performances, in the technology and information era, creates complex and diverse challenge to the dance of Reog Bulkiyo. In 1999, the dance had to be stopped following the regeneration and economical problem. Although Reog Bulkiyo has been performed again since 2009, the conditions which makes this dance can be produced is still inexplicable. This article attempts to explain why dance experiencing production and activity stagnation. Pierre Bourdieu’s cultural production theory is used to analyze this problem, while ethnographic qualitative is used as the method. This study found that Reog Bulkiyo dance is in the arena of traditional dance art which has a double-tiered structure. The first structure leads to popular culture, while the second structure leads to art culture. In the first structure, Reog Bulkiyo dance group uses relational capital with relatives, social and Islamic groups to survive in the midst of competition with other popular arts. The dance then gains a relationship with the academy and the state which provides relational, cultural, and symbolic capital in the form of granting intangible cultural heritage status. These two relations give Reog Bulkiyo dance group the opportunity to maintain its cultural production. [ABSTRACT FROM AUTHOR]

Works of fiction play a crucial role in the production of cultural stereotypes. Concerning gender, a widely held presumption is that many such works ascribe agency to men and passivity to women. However, large-scale diachronic analyses of this notion have been lacking. This paper provides an assessment of agency attributions in 87,531 fiction works written between 1850 and 2010. It introduces a syntax-based approach for extracting networks of character interactions. Agency is then formalized as a dyadic property: Does a character primarily serve as an agent acting upon the other character or as recipient acted upon by the other character? Findings indicate that female characters are more likely to be passive in cross-gender relationships than their male counterparts. This difference, the gender agency gap, has declined since the 19th century but persists into the 21st. Male authors are especially likely to attribute less agency to female characters. Moreover, certain kinds of actions, especially physical and villainous ones, have more pronounced gender disparities. [ABSTRACT FROM AUTHOR]

Diverging from studies that categorize influencers solely as advertising figures subject to interpretation within marketing frameworks, this research employs an extensive netnography to examine influencers through the lens of cultural production theory. It views them as creators and creative individuals who adeptly cultivate communities around themselves using communicative techniques akin to literary narration. On digital platforms, social connections are reshaped into a seductive game, unfolding on both aesthetic and communicative planes. This process yields influence indirectly, gradually reshaping the community imaginary, over time. Users become immersed in a realm of objects, each bearing the distinctive mark of the influencer who has imbued them with their unique style, "like that of the potter cradling a clay cup". Influencers' ability to invent and inhabit digital platforms effectively positions them as key figures in shaping the dynamics of these new environments. [ABSTRACT FROM AUTHOR]

Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza 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.)

From Twitterature to Instapoetry, several literary forms owe their genesis and propagation to social networking sites, or SNSs. Amongst these, Instapoetry has enjoyed the most notoriety, though at the cost of its demerits overshadowing its merits. One of Instapoetry's merits is its ability to induce a sense of nostalgia with the help of evocative aesthetic modalities deployed by a poet during an Instapoem's formulation. Some of these aesthetic modalities include the typewriter font, black and white images, sepia or Polaroid images, vintage stationary, calligraphy, and textured paper. Leaning on the concept of "nosthetics" or nostalgic aesthetics proposed by Tanja Grubnic, this paper decodes the temporal hypermediacy prominent in the works of American Instapoet and photographer Tyler Knott Gregson, particularly in his first poetry collection, chasers of the light: poems from the typewriter series. Published in 2014, the collection possesses a temporal aura which not only romanticizes the past but also conveys the present as a part of the past by impersonating pre-digital analog techniques and materials. Through Gregson's collection, this paper aims at understanding the various designs or ploys behind the habituation of nostalgic sensibilities and relics in modern digital creative expressions that have come to dominate the current field of cultural production. This paper reveals how Gregson's works resurrect, temporalize, nostalgize, restore, rehabilitate, remember, reflect, conserve, eternalize, memorialize, physicalize, sensualize, play, beguile, daydream, journey, mask, elevate, legitimize, and tout. The paper ends with a conclusion highlighting the importance of Instapoetry with regards to the preservation and continuation of historical literary practices, and with a suggestion encouraging further scholarly exploration on the topic. [ABSTRACT FROM AUTHOR]

Under the influence of tourism and globalization, heritage production presents a new landscape. As a crucial framework for interpreting heritage, Authorized Heritage Discourse (AHD) has profound significance in discussing its practice characteristics in this context. Taking cities along the Jiangsu–Zhejiang section of the Grand Canal as a case study and drawing upon policy text, this study explores the practice characteristics of AHD in the tourism context. Results indicate that the thematic practices of AHD encompass protection and management, ecological construction, cultural production and inheritance, touristification, infrastructure and services, and marketing and cooperation, forming a clustering pattern with touristification as the central theme. The spatial characteristics manifest as multi-scale practices ranging from global to regional to local, each corresponding to diverse thematic characteristics. This study deepens the understanding of AHD in tourism and advances the research progress of heritage tourism. It also provides practical references for the utilization of urban heritage and the management of heritage tourism. [ABSTRACT FROM AUTHOR]

Derelict industrial spaces have been crucial spatial resources for artists and cultural production for decades, often forming vibrant cultural clusters. However, these spaces are increasingly threatened by speculative real-estate development and displacement through more “productive” creative industries. The case of Alte Münze in Berlin provides empirical insight into the politics, practices, and strategies essential for preserving these heritage sites in the long term for cultural use. This research underscores the need for supportive planning regulations that combine cultural policy with urban planning, advocate for public-civic partnerships, and promote public or community-based ownership models. The findings extend to small-scale manufacturers and businesses facing similar challenges in maintaining workspaces amid competitive urban land use pressures.

Este artigo busca compreender o legado autoritário brasileiro e sua relação com os recentes episódios de censura às artes. Para tal, o estudo realiza um levantamento das produções culturais censuradas e/ou alvo de ataques de grupos conservadores no período entre junho de 2017 e março de 2020. Foram consideradas as produções que se enquadraram em três critérios: foram alvo de ação conservadora de julgamento ou criminalização da arte; tiveram repercussão nacional na mídia mainstream; envolveram reação e/ou mobilização em defesa das manifestações artísticas. Argumentamos que o atual cenário de ruptura democrática aflorou o passado autoritário do país, o que contribuiu por desencadear diversos episódios de censura. Partimos dos conceitos de autoritarismo, censura e liberdade de expressão aliados à análise de conteúdo para empreender tal reflexão.

This article examines the overlooked import and production of tragedy as a literary genre during the long nineteenth-century Romanian literature. It is not that Romanian tragedies had not been written until 1918, but they were not reprinted, and the critics’ interest in these early tragedies diminished considerably over time. Starting from the observation that this poor acknowledgment is a result of a narrow and de-contextualized perspective, one that leaves aside the earlier as well as non-canonical literature, I investigate what and how tragedies were imported as well as written at the time. Whereas the imports were oriented predominantly towards the Romance-speaking countries and cultures—more than towards the Greek Antiquity—, local production explored, as expected, the historical (inter-imperial) past of the Romanian Principalities. More important, however, is the configuration of imports, which can be divided, as I aim to argue, into three categories: the latecomers, the cognates, and the diversifiers. Hence, this taxonomy, along with the local production, cast light on the fact that not only do we have tragedy—translated and local—but also that it was, as most of the cultural production, instrumentalized to promote the national ideals. [ABSTRACT FROM AUTHOR]

Copyright of Revista de Arqueologia is the property of Revista de Arqueologia 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 Revista Latinoamericana de Ciencias Sociales, Niñez y Juventud is the property of Centro de Estudiso Avanzados en Ninez y Juventud alaianza Cinde, Universidad de Manizales 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 Imagofagia is the property of Imagofagia - AsAECA 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 Apotheke is the property of Universidade do Estado de Santa Catarina 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 paper describes the path of approach, knowledge and development of awareness relating to digitisation and digitalisation processes identifiable as the cultural heritage (CH) of digital transformation (DT). The state-of-the-art contemporary cultural scenario is outlined uninterruptedly, constantly comparing academic reality and the cultural and creative sectors. Pros and cons are analysed to outline good practices for the innovative production of digital cultural artefacts and proposals. Finally, two suggestions concerning digital education and the creation of user-centred digital products are briefly described as services of a newborn start-up CRHACK LAB Bari - Officine di Cultura Digitale providing, representing the end of three years of PhD research. [ABSTRACT FROM AUTHOR]

Cultural events and collections, as curated assemblies of artists and artwork attended by live audiences, are recognised as a large and growing source of added value in contemporary accounts of 'creative', 'enrichment' and 'experience' economies. We analyse these, and empirical festival studies, to assess the impact on cultural production when the COVID-19 pandemic forces events to cancel or move online. Contrasting the relative optimism of 'enrichment' (Boltanski & Esquerre 2020) with pre-pandemic developments, we argue 'festivalisation' is best understood as a defensive reaction to mediated alternatives. These increasingly offer experientially comparable, lower-cost substitutes for the premium-priced immersive performance on which cultural workers have come to rely, for creative ideas, skills and career openings as well as income. Online channels weaken the eventisation defence and curatorial quests for 'singularity', while remote participation limits audiences' size and mode of engagement, risking permanent damage to vital components of cultural production and valorisation. [ABSTRACT FROM AUTHOR]

This article seeks to understand the Brazilian authoritarian legacy and its relationship with the recent episodes of censorship of the art and cultural production. The research produced a survey of cultural productions censored and/or attacked target by conservative groups in Brazil between June 2017 and March 2020. Cases that fit three criteria were analyzed: target of conservative action judgment or criminalization of art, productions with national repercussions in the mainstream media, and productions that involved reaction or mobilization in defense of art and freedom of speech. We argue that the current scenario of democratic rupture encouraged the country’s authoritarian movements, which contributed to trigger several episodes of censorship. We start from the concepts of authoritarianism, censorship and freedom of expression combined with content analysis to develop such thinking. [ABSTRACT FROM AUTHOR]

The paper focuses on the gendered self-conceptions of engineers and their relevance for studying world exhibitions. It thus analyses debates in German engineering around 1900 on the relationship between technology and culture in order to reconstruct how masculinity in engineering is understood as a symbolic position of cultural production. This aim necessitates using a concept of 'hegemonic masculinity' as a relational construction. This is illustrated by the example of the professionalisation of modern German engineering from the 1870s on until the turn of the century. In their writings, engineering scholars initially constructed the idea of a 'scientist of machinery' as a symbolically neutralised position of objectivity by following a narrative of progress. Later, the engineer as a 'man of action' supplanted this concept, and emphasis was now placed on a narrative of the technological man whose competence was regarded a talent arising from the nature of his sex. Both historical conceptions of the German engineer are interpreted as a specific mode of masculinity construction, motivated by the need to attain a dominant position, not only with respect to women but also to other social groups of men. [ABSTRACT FROM AUTHOR]

In the study of the recent political process of the recognition of indigenous communities in the province of San Luis, we found many elements coinciding with processes that have taken place in our Cuyo region (Escolar, 2007; Tornello, 2011; Katzer, 2015; Calderón Archina, 2016; García Guerreiro, 2022), but there are also distinctive features which must be deeply studied. As much of what has been documented (normative, academic-scientific, cultural production, news, audiovisual, among others) ends up giving greater relevance to the actions, institutions and political principles of state actors than to the political community eventually developing into subject of rights, we carry out a reconstruction of a still ongoing process of state action power in order to reconfigure it, considering its governmental position, its institutionalisation and a conflictive narrative that opens new questions in our investigation [ABSTRACT FROM AUTHOR]

This article examines the material culture of Urdu action heroine films released in the era of Pakistan's Islamization (late 1970s through 1980s) by a woman-led company called Shamim Ara Productions, which was headed by the illustrious female star, director, and producer of the Urdu screen Shamim Ara. With titles such as Miss Hong Kong (1979), Miss Colombo (1984), Miss Singapore (1985), Lady Smuggler (1987), and Lady Commando (1989), the action films released by Shamim Ara Productions bear the imprint of a traveling culture of production roving through urban South and Southeast Asia. Not only do we find here a mobile industry, headquartered in Lahore, fostering collaborations between smallscale film and tourism entrepreneurs strewn across South and Southeast Asian cities (Colombo, Dhaka, Manila, Hong Kong), but we also encounter a hybrid cinema led largely by women and cross-fertilized by global images of female action and public mobility flowing into Pakistani cities with the video trade and its piracy, and satellite television (video and VCR having come to the country in the late 1970s). In this article, I situate the gender politics of the ensemble heroine narrative Lady Smuggler (1987) in its material culture of production and reception, with attention to the diverse locations of that culture. [ABSTRACT FROM AUTHOR]

In this interview, David Nieborg discusses the key themes of his academic career. Firstly, he delves into the political economy of triple-A games, highlighting their evolution from a hobbyist pastime to a major sector of the global economy. He examines their production value chains, monetization strategies, and the relationships between hardware companies and game publishers. Nieborg then explores the concept of "platformization of cultural production", emphasizing how digital platforms are reshaping the creation, distribution, and monetization of cultural goods. Despite advancements in content production tools, he pins down persistent power imbalances from the dominance of big digital platforms. He concludes with insights from his latest book, which addresses the struggles of games journalism in gaining legitimacy and visibility in mainstream culture. [ABSTRACT FROM AUTHOR]

The role of the alternative media in the constitution of independent music scenes has been fundamental for the creation of support, dissemination and promotion networks. This article explores these communicative experiences in depth by analysing, through fanzines and free radio stations, how their relationship with different Spanish music scenes (punk and Jamaican music) developed. With the aim of introducing a historical analysis that traces the depth of these media and their evolution from the past to the present, the adaptation of these media to the new web environment that, since the beginning of the century, has dominated the space of cultural production and consumption has been analysed. [ABSTRACT FROM AUTHOR]

Copyright of Perífrasis. Revista de Literatura, Teoría y Crítica is the property of Universidad de los Andes 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 Perífrasis. Revista de Literatura, Teoría y Crítica is the property of Universidad de los Andes 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 Revista Pós Ciências Sociais (REPOCS) is the property of Revista Pos Ciencias Sociais (REPOCS) 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.)

In reference to recent interest in transnational queer studies, this essay takes steps to document the long-standing tradition of cultural connection and exchange with regard to homosexual images that has taken place across the Gulf of Bothnia and influenced the understanding of homosexuality, lesbianism included, in both Finland and Sweden. It argues that the cross-border exchange has not only nourished lesbian and gay culture and cultural production in both countries, but also influenced the way in which homosexuality – and thereby the countries themselves – have been viewed. In the article, Finnish cultural products, such as detective novels, films, scandal and porn magazines are searched for traces of the enduring idea of Swedishness being intrinsically intertwined with homosexuality. Whereas the image of Sweden was rather tainted by homosexuality in the 1950s, the public perception of Sweden in Finland changed markedly in the 1960s. In addition to ideas changing, people also started to travel between the two neighbouring countries, ensuring that the cultural exchange was by no means a one-way street. [ABSTRACT FROM AUTHOR]

Copyright of Políticas Culturais em Revista is the property of Politicas Culturais em Revista 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.)

Exegesis is a common practice when discussing religious texts. It has also been employed in the analysis of cultural production to elucidate the author’s intentions. Japanese animation (anime) is a transnational industry with cases such as Neon Genesis Evangelion (1995-1997), in which the figure of an individual author, such us the filmmaker Hideaki Anno, interacts with the collaborative authorship. The extensive use of obscure Judeo-Christian terminology and iconography in this work has risen debate about the actual intentions of Japanese author(s) when referring to Western culture. Our analysis concludes that the use of this iconography is intentional. The ambiguity of the narrative, shaped using multiple references, aims to induce the feeling of a complex text in the viewer. This would reinforce previous considerations of this anime as an “open work”, in the sense defined by post-structural semiotic analysis. [ABSTRACT FROM AUTHOR]

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.)

Copyright of Revista de Sociología is the property of Universidad de Chile 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 Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid 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 Angles: French Perspectives on the Anglophone World is the property of Societe des Anglicistes de l Enseignement Superieur 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 paper examines the role played by leaders figures from the Moroccan diaspora as potential instruments of legitimation for the Moroccan state and traditional elites, not just on an international scale and among the Moroccan communities living abroad, but also on a domestic level. Through the case study of specific events that happened to two prominent figures from the Moroccan community in Spain - rapper and songwriter Morad and football player Achraf Hakimi - in 2022, it analyses the legitimation strategies - cooption or coercion - that the Moroccan state employs to ensure that the stance taken in terms of politics and identity, as well as the cultural production, of leaders figures from the diaspora are aligned with its interests and principles at all times. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del CILHA is the property of Universidad Nacional de Cuyo 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.)

Artist collaborations in music have been on the rise, and they tend to produce commercially and critically successful songs. We seek to uncover the effect of these collaborative projects on career trajectories and identify the factors that lift an artist's profile in the short and long term. We develop a theory of collaboration based on the transfer of capital between the collaborating artists that facilitates spillovers across time. To validate the theory, we use weekly radio plays of individual songs across 25 European countries between the years 2011 to 2018, together with a multiattribute Spotify data set of songs and Hofstede's cultural dimensions in relation to artist origins. We create pairs of similar artists who released a collaboration and a solo song in the same week and measure the impact of collaborations based on the difference-in-differences methodology. We find that releasing a collaboration song, in comparison with a solo song, increases the number of plays of an artist in the future by +4.6%. This lift can be broken down into +9.6% for the current song and +7.7% for subsequently released songs, whereas past songs are unaffected. The effect is moderated by the difference in economic, social, and cultural capitals and is significantly larger when one's partner has higher economic and social capital or is highly dissimilar along the cultural dimension. Our theoretical and empirical exploration of such strategic alliances uncovers several underlying mechanisms at play in the success of these pairings and can serve as the basis for future work targeted at prescriptive contributions. This paper was accepted by David Simchi-Levi, operations management. Funding: The research was supported by the Spanish Ministry of Science and Innovation (Ministerio de Ciencia e Innovación) [Grant Ref. PID2020-116135GB-I00/AEI/10.13039/501100011033]. Supplemental Material: The online appendix and data are available at https://doi.org/10.1287/mnsc.2023.4743. [ABSTRACT FROM AUTHOR]

Film remakes represent a form of cinematic translation that reconstructs various elements of the original text. This article relies on the translation strategies of domestication and foreignization to analyze "Āṣḥāb Wālā Āʿāz", the Arabic remake of the Italian film "Perfetti Sconosciuti" or "Perfect Strangers". This study shows that the Arabic remake, which sparked controversy across the Middle East, replicates many of the syntactic elements of the original film, such as the narrative and the plot structure, as well as cinematographic and paralinguistic elements. Still, it attempts to adopt a transformative approach in order to generate a cultural production. The result shows that the use of domestication in film remakes alters the rhetorical effect of the original version and that, although foreignization may promote an audience's interest in foreign cultures, it may contribute to the reproduction of otherness due to the dissatisfaction of the targeted audiences. [ABSTRACT FROM AUTHOR]

By critically analyzing the convergence of AI and popular culture in the Korean cultural context, this article attempts to offer critical insights into the local cultural industries that vehemently work with AI and digital platforms. It examines the critical collaboration between popular culture and AI technology in cultural production, meaning it discusses the ways in which cultural creators develop AI-supported cultural programs, both systematically and textually. It maps out how Korean cultural industries firms have partnered with AI companies to determine the reasons why they pursue AI-supported cultural content. Finally, it discusses the critical understanding of AI-embedded popular culture in terms of creativity and audience reception.

The article presents the research results of gifting online-representations of 170 museums in Moscow (federal, regional, private). Data collection and its interpretation were structured around the duality of the museum gift as a semantic unit representing the following categories: 1) appeals and requests from museums for different types of property support (new items or monetary donations); 2) gifts previously given to the museum, presented in electronic catalogues. The data collected from the materials of Moscow museums’ websites showed that appeals for assistance to museums, regardless of the type of charity, are the lot of a minority (8–15 %). In turn, 82 museums have systematized electronic catalogues, among them only 13 % clearly distinguish information about the way of items’ arrival and through a gift, including in a separate category of description. Considering a long history of philanthropists’ influence on the formation and development of museums, and evidence of existing museum support practices, the author does not argue about low intensity of donations in museum institutions, but offers to draw a conclusion about the relationship between low articulation of gift intentions and donations in the collections and functioning of the museum field in Moscow, its rules and shared norms.

NFT, dijital varlıkların blok zincir teknolojisi ile tescili ve haklarına ilişkin ticari işlemleri düzenleyen algoritma temelli nesneleri tanımlar. Blockzincir tabanlı teknolojiler ve dolayısıyla bu teknolojinin bir uygulaması olan NFT’ler pek çok alanda endüstriyel ölçekte bir değişimi tetiklemektedir. Bu teknoloji ticari işlemler, eser tescili, sahipliğin ispatı ya da özgünlük kontrolü için farklı çözümler için kabul görmeye başlamıştır. Oldukça ilgi gören bu konuyu teknik ya da finansal boyutlarıyla ele almak mümkündür. Buna ek olarak blokzincir teknolojisinin sanatta uygulanması sanat dünyasına da benzersiz bir yenilik kazandırmıştır. Bunun ilk nedeni teknolojinin biçimsel yönünü hızla alımlayan sanatçıların getirdiği kripto sanat türüdür. Bu tür içerikler (internetteki meme’ler, gif’ler, videolar vb.), kripto varlıklar ve sosyal medya akışı ile iç içe geçtiği için tanımlanması güç bir sanatsal üretim pratiği ortaya çıkarır. Benzersizliğin ikinci boyutu ise teknolojinin operasyonel boyutudur. Sanat yaratımının özgünlüğü, meşruluğu ve değeri konusundaki bilginin merkezsiz şekilde korunması ve aktarılabilmesi daha önce gerçekleşmeyen bir yeniliktir. Aynı zamanda sanat dünyasındaki alışılmış sahiplik pratikleri ya da mevcut aracılık yapısını tehdit eden bir gelişmedir. Bu çalışmada blokzincir temelli NFT olgusu teknolojik ve finansal boyutları yanında sanat dünyasını dönüştürme potansiyeli üzerinden incelenmesi amaçlanmıştır. NVivo'nun NCapture tarayıcı eklentisi kullanılarak Türkçe dilinde ve herkese açık olarak yayınlanan Tweetler Twitter API hizmeti aracılığıyla toplanmış ve nitel analize tabi tutulmuştur. NFT teknolojisinin sanatsal üretim, tüketim ya da diğer özellikleri açısından söz konusu platformda nasıl yorumlandığı tematik olarak değerlendirilmiştir.

The eight essays in Ben Davis’ "Art in the After-Culture" are centered on the interchanges between cultural production and economic development in contemporary society. Largely told through the lens of leftist aesthetic theory, the book pushes against exploitative notions of capitalist systems and ambitions towards decentralization. Davis likens art to a “survival kit” and advocates for creative practitioners to strategically influence the direction of society.