All articles in the special issue (Quadern) and in the research articles section (Articles) have passed an initial editorial check. Debats' starts from the perspective of the social sciences, but also aims to make connections with contemporary analyzes and debates in the field of humanities, communication sciences and cultural studies.
Special Issue
Imagined Communities in the 21 st century
A Homage to Benedict Anderson”
The Importance of Imagined Communities – and Benedict Anderson
Perhaps the most remarkable demonstration of the material basis of the imagination—culture—came in Anderson's discussion of the census, the map, and the museum in the second edition of Imagined Communities. Anderson's account of nationalism fits neatly into this tradition, emphasizing the "modularity" of the idea of a nation once established.
BIBLIOGRAPHIC REFERENCES
This matters because a sense of togetherness is basic to investments in shared institutions and social welfare. They matter because, however problematic it is currently in practice, electoral democracy thrives primarily in nation-states.
BIOGRAPHICAL NOTE
We have the benefit of hindsight to see that this ignored many of the reasons for the resurgent nationalism of our time. They matter because people are convinced, often by demagogues, that foreigners are a threat, that migrants are stealing their jobs, or that foreign capitalists are undermining domestic businesses.
Imagined communities against the tide?
The questioned political projection of nationalism 1
The by-line for my study was "The Construction of France and Spain in La Cerdanya", foreshadowing my thesis that the international border and its marches played a key role in the construction of the nation-state. What happens when a French or Spanish citizen dies on the other side of the border.
THE LIMITATIONS OF SOVEREIGNTY — CONTINUITY AND CHANGE
Schools, along with the printing press, spread a mythic view of history that ignored the fact that William the Conqueror - the supposed founder of England - did not speak English and that he conquered a people who would eventually worship him. The Second Article of the Spanish Constitution of 1978 held this formula [by order of the Armed Forces], which states "The indivisible nature of Spain as the country of all Spaniards".
STRANGERS AND KINSHIP
Sustaining the imagined communities that form nations means emotionally charging and assigning value to shared cultural elements. There is a daily affirmation of imagined communities and references to categories and national identities that limit freedom of action.
CONCLUDING THOUGHTS
Esto asegura que sus miembros puedan mantener una organización compartida en lo que respecta al ejercicio del poder y su ritualización (Abèlés, 2008). Nacionalización de intereses, situaciones cotidianas e historias locales: de la frontera internacional a las fronteras culturales en una frontera de los Pirineos.
Imagining the Nation through Television Fiction
Memory, Proximity and Daily Life
INTRODUCTION
In the rest of the paper, we will delve into the relationship between television and the construction of the nation's imaginary. In this regard, we will emphasize television fiction because: it: is one of the great entertainment genres;.
TELEVISION’S IDEOLOGY, MYTH AND RITUAL POWER
The set of symbols and representations of the nation shown on television are affected accordingly. Precisely because it is part of daily life, it naturalises many of the nation's representations, discourses, traditions and symbols.
DAILY LIFE AND THE NATIONAL FAMILY OF VIEWERS
This issue takes us straight to what is familiar and predictable: categories that are just as much part of the nation's daily life. It is usually given a prominent place in a recreation room of the home (usually the living room).
NATION AND TELEVISION FICTION
Such series aim to illuminate “the history of the present from the perspective of national memory” (Rueda Laffond and Galán Fajardo, 2014: 18). In any case, the popular story (which is characterized by simplicity and dwelling on the essence of everyday life) is also one of the hallmarks of historical TV fiction in Spain.
CONCLUSIONS
When it is easier to hear Thai (without subtitles) in a Spanish TV drama series than to hear Catalan, Basque or Galician — as is the case in the series La Embajada (Antena knows which way the wind blows when it comes to defining the nation on the TV screen. Policías, en el corazón de la calle: de cómo en España se produjo con éxito una serie para adultos.
Imagined community and governance
This renewal of cultural paradiplomacy has fueled various tensions between the public and private members of the socio-institutional framework. The "political power" of nationalism and the power of the sovereign state as a project tackled the "freedom of the nation."
GOVERNANCE AND FOREIGN CULTURAL POLICY
It has also been noted that cultural diplomacy can transform domestic policy to "encourage the observance of our own national image abroad and strengthen pride in the achievements of a country" (Higham. In contrast, it has also been warned that cultural action in the foreign can act as a tool for dealing with domestic policy and disputes, as in the case of advanced proto-diplomacy in Quebec (Mark Bélanger, 1994).
INSTITUTIONAL EVOLUTION OF CATALAN CULTURAL PARADIPLOMACY
This renewed structure and significant legal redesign of this area under the new Statute of Autonomy (Estatut d'Autonomia, 2006), helped to strengthen Catalonia's international presence, with milestones such as the Frankfurt Book Fair or becoming the Capital of the Union in the Mediterranean. 7 It was entitled "popular consultation, not a referendum, on the political future of Catalonia" and was convened in September 2014 through the adoption of a law of inquiry by the Catalan Parliament and the subsequent signing of a decree by the President of the Catalan Government. , calling for it to be held on November 9, 2014.
CORPORATIST GOVERNANCE OF THE CATALAN CULTURAL PARADIPLOMACY
One of the associations in the table above is the l'Institut de Projecció Exterior de la Cultura Catalana (Institute for the Dissemination of Catalan Culture Abroad, IPECC). From the 1980s onwards, this institution received support from the Generalitat de Catalunya (Government of Catalonia).
Anderson and the Media
The strength of “imagined communities”
As Özkirimli (2000) noted, Anderson's vision of the nation, nationalism and national consciousness has drawn criticism. Seen in perspective and following the scholar's untimely death, one must recognize the power of the concept of 'imagined community' and the richness of Benedict Anderson's exposition.
BIBLIOGRAPHICAL REFERENCES
While Anderson's view of the nation as an "imagined community" may lead us to focus more on discourse as a tool or epistemological sphere, it fits better with historicist views of identity. His focus is not an analysis of the nation's cultural representation, and even less so.
Anderson and the Imagined Nation*
This stream of thought on nationalism was consolidated in the 1980s and shares the same idea, namely that the phenomenon is a product of modernity (in its broadest sense - the emergence of the state, market economy, public administration and so on). Anderson pointed out the fallacy of such predictions and noted the emergence of nationalism in new states and lands around the world.
REVINDICATING ANDERSON
Second, the most surprising feature of the confusion (intentional or not) is that 'imagination' takes the same for non-existent. It was a kind of revolutionary nationalism that sought to throw off the yoke of metropolitan power.
ANDERSON AND US
After all, the environment in which we find ourselves is woven from institutions and collective consensus that are neither necessarily tangible nor material. Theorizing about the different faces of nationalism and its capacity to be liberating or oppressive depending on the use of national identity is another aspect of the work of this Chinese-born Anglo-Irish anthropologist.
BIBLIOGRAPHY
Advisor and researcher at the Self-Government Institute (IEA) and collaborating lecturer at the Open University of Catalonia (UOC). He got his Ph.D. in political theory and took a postdoctoral course at Quebec University in Montreal (UQAM).
Culture and State: Creative Autonomy, Political Struggle and Instrumentalisation”
Vicent Dubois in his book (Dubois, 1999) reminds us that the origins of cultural policy lie in efforts to clip the State's wings and prevent it from instrumentalizing culture for its own purposes. The cultural policy drawn up by André Malraux aimed to stop America's dominance of the cultural industry at the time.
CULTURE AND THE POLITICAL SPHERE: THE POLITICISATION OF CULTURE
Cultural policies could raise the profile of new creators and stimulate middle-class interest, but they have encountered structural obstacles in promoting cultural participation among the working class and young people.
POST-INDUSTRIAL SOCIETY AND THE INSTRUMENTALISATION OF CULTURE
THE AESTHETICISATION OF POLITICS
POLITICS, CULTURE AND SOCIAL CHANGE
CONTRIBUTIONS TO THE DEBATE
In the first place, Menger, a sociologist at the prestigious Collège de France, clearly analyzes the connections between culture, political engagement and the state in the modern era. Gisèle Sapiro provides an erudite, insightful analysis of the origins of the right-left divide in the literary field.
Planificación cultural y sostenibilidad comunitaria: el caso del Plan de equipamientos culturales en Cataluña (PECCAT 2010-20. Discurso utópico contra el análisis sociológico sobre la transición al paradigma digital del ámbito cultural).
The French Model’ and its ‘Crisis’: Ambitions, Ambiguities and Challenges of a Cultural Policy*
Cet article est une version actualisée de « Le « modèle français » et sa « crise » : ambitions, ambiguïtés et enjeux d'une politique culturelle ». Le modèle français en crise : ambitions, ambiguïtés et défis d'une politique culturelle », publié dans Saint-Pierre, D;.
INTRODUCTION: A MODEL IN CRISIS?
The apparent international success of the "French model" stands in stark contrast to the disappointment and doubt it has faced at home since the late 1980s. The belief that there is a "crisis" in French cultural policy is indeed shared across sectors, from cultural experts to experts, artists and opposition politicians.
THE BUILDING OF A CULTURAL POLICY SYSTEM AND ITS CONTRADICTIONS AND WATERSHEDS
Here it is worth looking briefly at the background to the creation of the Ministry of Cultural Affairs (later renamed Ministry of Culture) as the flagship of French cultural policy. The Ministry of Cultural Affairs and the cultural policy to which it gave rise were the result of the combination of both factors.
UNRESOLVED FOUNDATIONAL CONTRADICTIONS
At first, this was explained by political issues (in the 1960s, French television was still subject to direct political control) and at the same time, certain ideas of what culture was (the classical, legitimist view that made television viewing difficult. as a cultural medium). The crisis of unemployment benefits for workers in the performing arts served again to highlight the "crisis in French cultural policy".
Art, Politicisation and Public Action*
Here, Art can make cumulative progress, like civilization itself and of which it is one of the most powerful symbolic representations. For ideological and political reasons, most of the avant-garde is against the bourgeoisie.
THE UNIVERSALITY OF ARTISTIC VALUES AND INEQUALITIES IN THE CONSUMPTION OF CULTURE
Our starting point is a simple characterization of the functions of cultural policy and we successively examine the two sides of the market: demand (the object of democratization) and supply (the object of support and creation). That said, the two most commonly applied measures (namely support for artistic creation and democratization of cultural goods and services) seem to be rooted in two opposing representations of the relationship between artists and society as a whole.
THE MARKET AS THE PROOF OF THE PUDDING?
However, corrections need to be made to these figures to take into account the social changes that took place during this period. Such an approach, it is argued, cannot justify acting on behalf of the public as a whole (or at least on behalf of those groups that are not direct consumers).
THE ARTISTIC AVANT-GARDE AND ITS OPPOSITION TO THE BOURGEOIS ORDER
The avant-garde ideologies that emerged in 19th century European art seem to have proposed both types of response: the politicization of art and the adherence of people to daring experiments in elitist art. Unlike proletarian art, the elitist avant-garde achieves the political emancipation of the people without renouncing their autonomy.
THE ARTIST, PROGRESS, AND THE MOVEMENT: BETWEEN MODERNITY AND THE AVANT-GARDE
Thus the dual postulation of the creative genius (associated with self-confidence and sometimes unbearable arrogance) and the 'genius'. Among innovative artists, the criticism of the bourgeoisie was not based on purely political reasoning.
INDIVIDUALISM AND ORIGINALITY
Are they the result of public blindness (with art market entrepreneurs shaping public taste at will). Nevertheless, Baudelaire asks us to consider the other side of modernity - the price demanded by the glorification of the individual.
AN UNCOMFORTABLE ENTHUSIASM: THE SOCIAL ELITES AND ADVANCED ART
While modernity identifies with a passion for the present, the avant-garde presupposes a historical awareness of the future and a desire to be ahead of the times. We will now refer to two politically opposed analyzes of the social contradictions of the avant-garde movement, one by Bell and the other by Adorno.
IN THE WAKE OF POLITICISATION, POLICY
What a difference separates the world of elite Art on the one hand and avant-garde experiments on the other. The evolution of cultural policy revealed that the two vectors of artistic originality (the aristocratic heroism of the creator and the democratic individualism of the expressive subject) had managed to coexist and give credibility to two systems of public action.
THE SECULARISATION OF THE AVANT-GARDE
Here, cultural policy has waged a two-pronged battle against the monopoly on the fine arts. One of these is that current cultural policy is both ineffective and revolutionary in the long term.
ACKNOWLEDGMENTS
Could it be that the institutional triumph of the avant-gardes doomed them to dissolution and various forms of syncretism and eclecticism that have. He has written numerous books on the Sociology of the Arts, work and creativity, among which Le travail créateur [Creative Work], published in 2009 by Gallimard-Seuil, is particularly noteworthy.
Uses and Abuses of Creativity. Sociology of creative processes, transitions to digital
The debate about creativity (its origins, uses and effects) has become a major focus of controversy in the social sciences. In the second part of the paper, we will compare the main theses of the sociological analysis with ideas about the transition to the digital world.
CONCEPTIONS OF CREATIVITY AND SOCIOLOGICAL PERSPECTIVE
Projects that envisage the social conditions in which creativity takes place as those that establish the main contributions of the sociology of creativity. In the first part of this article, we will undertake the analysis of the sociological study of creativity and the production of cultural values, which is treated from different perspectives.
THE NOTION OF CREATIVITY IN SOCIAL SCIENCES
Creativity as an original artistic or academic novelty would be defined in terms of the dialectical process that takes place in the artistic field. In contrast, in the center of the sphere we find the truly influential minority, those who have the right cultural and emotional resources and tend to be enormously creative.
THE DIGITAL TRANSITION AND RHETORIC
However, in addition to these social-historical analyses, Menger (2009), from a more meso-sciological perspective, introduces the analysis of everyday recognition processes that take place through two mechanisms. 1) The constant acts of judgment that the medium itself undertakes, where small differences in talent are considered essential and cause great distances in reputation. This question takes on maximum relevance when considered in the context of the digital transition of culture.
OF CREATIVITY UNDER THE AUTHORS’ SOCIOLOGICAL ANALYSIS: STRUCTURES, INTERACTIONS
Certainly, other authors have worked on the social analysis of creative genius, such as the cases of Mozart (Elías, 2002), Beethoven (DeNora, 1995) or Van Gogh (Heinich, 1992). Therefore, these studies emphasize the perspective of charisma as a social product, where the creation of cultural value comes from recognition.
AND CREATIVITY
Finally, some authors have perceived a growing awareness in the cultural sectors of the overlap of the commercial, entertainment and informal art sectors (Cherbo and Wyszomirski, 2000). From the perspective of Peterson's (1982) culture production, which defines five factors that influence creativity (legislation, technology, market, organizational structure and career structures), the cultural system can be found in two extreme situations: a) from years 1930. to the 1960s, the existence of an intermediary monopoly and stability or repetition (music sector before 1959), or b) since the 1960s, the emergence of competition between intermediaries (new radio stations, record companies and independent music agents) creating a context of fierce innovation (with an explosion of creativity and styles in rock and pop music).
CREATIVITY AND CULTURAL POLICY: USES AND ABUSES OF A PARADIGM
In the context of the economy of Fordism, the creative city paradigm (Landry and Bianchini, 1995) has become a key element in territorial development (Scott, 2001; Scott, 2010). Another dominant international discourse is that of the creative city, initiated by Landry and Bianchini (1995) and developed by Richard Florida with the belief that the creative classes can transform the urban economy (Florida, 2005b).
FINAL NOTES
La administración y gestión de las instituciones culturales nacionales: del contraste entre arte y economía a la conexión entre política y gestión cultural. La dimensión social de la actividad creativa: una introducción al enfoque de las ciencias sociales.
BIOGRAPHICAL NOTES
MISCELLANEOUS
Edward Said and exile: a gaze at counterpoint
EXILE AS A STRATEGY FOR THE ANALYSIS OF CULTURAL STUDIES
Thus, by crossing cultural boundaries, apart from having his or her own culture, the "expatriate" adapts intellectually to the culture of the receiving country. On the contrary, he tells us that his book Culture and Imperialism (1993) was mostly written in New York City, city of exile par excellence.
CRITIQUE
Moreover, belonging to both sides of the Imperial experience allowed him to better and more easily understand them. For Spencer, all of Said's work - from his first book Joseph Conrad and the Fiction of Autobiography 1966 to his last writings on the Iraq War and his impression of the late style - was characterized by his awareness that personality, identity and perspectives are not static , but can be enriched by exposure to new experiences, strange encounters and thought-provoking reflections (Spencer, 2010).
ABOUT THE AUTHOR
Thus, Said's writings imply that we should regard the whole world, including ourselves, as a foreign country, from which to spread human love to geographical areas worldwide and never hold on to one as our own. The person who finds his homeland sweet is still a tender beginner; he to whom every land is like his native land is already strong;.
From art after Auschwitz towards a sociology of disrespect of Buchenwald*
To that end, we will first present the aporias presented by critical social theory, especially after Auschwitz. Finally, we propose the mosaic of the aesthetic sociology of disrespect as a way to overcome the aporia of Auschwitz.
FROM CRITICAL THEORY TO AESTHETICS AFTER AUSCHWITZ
In short, critical theory after Dialektik der Aufklärung faced insurmountable aporias, linked to notions of reasons of reason and language that reached it. They seemed to close the road to not only a critical theory of society but even of aesthetics and.
AUSCHWITZ AND THE END OF COMPREHENSIVE SOCIOLOGY AND AESTHETICS
Therefore, in the wake of the old negative theology, which bowed in defeat before the God who likes to hide himself, Deus absconditus. But even if "the darkening of the world makes the irrationality of art irrational: radically darkened art", the well-known Adorno thesis: "Writing poetry after Auschwitz is barbaric", seems to close the door to any kind of artistic expression.
RECOVERING THE CAPACITY TO IMAGINE
What the enemies of modern art, with a better instinct than its anxious apologists, call its negativity, is the epitome of what established culture has suppressed and that to which art is drawn” (Adorno, 1997: 32s).
THE AESTHETIC SOCIOLOGY OF DISRESPECT OF BUCHENWALD
Yes, please!
A few days later - I'm not sure how many days, three or four days later - American military leaders organized a trip for the civilian population of the city of Weimar to the Buchenwald camp. The American lieutenant who gave the explanation was a German Jew who had immigrated in the 1930s, had won the USA.
Is it true that this story you witnessed caused you to suffer from stomach ache, and you went to the
But a reader of the English version identified him and she told me it was "Rosenberg". On a subsequent visit to the camp he was able to verify that in the infirmary barracks there were actually some of the volumes in that edition for no apparent reason.
CONCLUSION
ABOUT THE AUTHORS
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Journal on Culture, Power and Society
Annual Review 1
A Homage to Benedict Anderson”
Albert Moncusí, Àlvar Peris, Mariano M
Culture and State: Creative Autonomy, Political Struggle
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