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This second volume of Theaters and Public Sphere in a Global and Digital Society offers several different case studies in their relationship with society. Also here, the focus is the fundamental contribution that artistic and cultural forms bring to social dynamics and how these can consolidate cohabitation and create meaningfullness, in addition to fulfilling economic and regulatory needs. As symbolic forms of collective social practices, artistic and cultural forms weave the meaning of a territory, a context, and a people, but also of the generations who traverse these same cultures.
These forms of meaning interact with the social imagery, mediate marginalization, transform barriers into bridges, and are the indispensable tools for any social coexistence and its continuous rethinking in everyday life.

Contributors are: Claudio Bernardi, Marco Bernardi, Massimo Bertoldi, Martina Guerinoni, Mara Nerbano, Chiara Pasanisi, Benedetta Pratelli, Roberto Prestigiacomo, Ilaria Riccioni, Daniela Salinas Frigerio, Eleonora Sparano, Emanuele Stochino, Matteo Tamborrino, Tiziana Tesauro, Katia Trifirò, Alessandro Tolomelli, and Andrea Zardi.
In Modern Architecture, Empire, and Race in Fascist Italy, Brian L. McLaren examines the architecture of the late-Fascist era in relation to the various racial constructs that emerged following the occupation of Ethiopia in 1936 and intensified during the wartime. This study is conducted through a wide-ranging investigation of two highly significant state-sponsored exhibitions, the 1942 Esposizione Universale di Roma and 1940 Mostra Triennale delle Terre Italiane d'Oltremare. These exhibitions and other related imperial displays are examined over an extended span of time to better understand how architecture, art, and urban space, the politics and culture that encompassed them, the processes that formed them, and the society that experienced them, were racialized in varying and complex ways.
Kazimierz Kelles-Krauz was an extraordinary figure on the Polish political scene at the turn of the 20th century. A Marxist and patriot, academic and politician, Kelles-Krauz was most known for his efforts to reconcile the needs of the nation with international socialism. This volume, however, offers a selection of his writings centred on the history of ideas, published for the first time in English. Kelles-Krauz’s works, while Marxist at heart, linked ideas stemming from the concepts of German idealists, French positivists, as well as contemporary sociologists who offered a bridge between research on individuals and the workings of social systems. Kelles-Krauz, however, repeatedly transcended Marxist tenets, focusing on the construction of traditions, social norms, and the social role of art.

This edited volume was first published in Polish as Kazimierz Kelles-Krauz: Marksizm a socjologia. Wybór pism by Wydawnictwa Uniwersytetu Warszawskiego in 2014. This current work has been revised and translated into English.
Nouvelles perspectives sur la culture, la littérature et le cinéma
This volume seeks to revisit the Franco-Maghrebian representations of masculinity in the line of the New Men’s Studies examining the aesthetical expressions as well as their interconnectedness with the sociocultural realities. In order to emphasize the arts’ role to rethink the codes of masculinity related to social, national and cultural identities, it assembles the work of experts from different research fields as Maghrebian Studies, Gender and Queer Studies, Popular culture, Cinema and Media Studies, sociology and anthropology. Their contributions unveil the processes of formation, negotiation and transformation of gendered and sexual norms in the societies at issue here providing an in-depth description of the variety of Maghrebian Masculinities.

Dans la lignée des études sur le masculin, ce volume a pour objectif de revisiter les manifestations de la masculinité en contexte franco-maghrébin en éclairant autant les expressions esthétiques que leur rapport aux réalités socioculturelles. Visant à souligner l’impact des arts pour repenser les codes du masculin et leur rapport aux identités, il réunit les réflexions des experts de diverses disciplines – des études maghrébines ‘classiques’, des études du genre et ‘queer’, de la culture populaire, de la sociologie, l’anthropologie, du cinéma et des médias. Leurs contributions rendent visibles les processus de constitution, de négociation et de renégociation des normes du genre et de la sexualité dans les sociétés ici en question en établissant une vision précise de la variété des masculinités ma¬ghrébines.

Contributors are/avec des contributions de: Mourida Akaichi, Manuel Billi, Denise Brahimi, Michael Gebhard, Claudia Gronemann, Kristine Hempel, Renaud Lagabrielle, Lila Medjahed, Birgit Mertz-Baumgartner,Sabrina Nepozitek, Gianfranco Rebucini, Mohand-Akli Salhi, Ronja Schicke, Alexie Tcheuyap, Mourad Yelles
In Bourdieu in Question: New Directions in French Sociology of Art, Jeffrey A. Halley and Daglind E. Sonolet offer to English-speaking audiences an account of the very lively Francophone debates over Pierre Bourdieu’s work in the domain of the arts and culture, and present other directions and perspectives taken by major French researchers who extend or differ from his point of view, and who were marginalized by the Bourdieusian moment.

Three generations of research are presented: contemporaries of Bourdieu, the next generation, and recent research. Themes include the art market and value, cultural politics, the reception of artworks, theory and the concept of the artwork, autonomy in art, ethnography and culture, and the critique of Bourdieu on literature.

Contributors are: Howard S. Becker, Martine Burgos, Marie Buscatto, Jean-Louis Fabiani, Laurent Fleury, Florent Gaudez, Jeffrey A. Halley, Nathalie Heinich, Yvon Lamy, Jacques Leenhardt, Cécile Léonardi, Clara Lévy, Pierre-Michel Menger, Raymonde Moulin, Jean-Claude Passeron, Emmanuel Pedler, Bruno Péquignot, Alain Quemin, Cherry Schrecker, Daglind E. Sonolet.
Art History as Social Praxis: The Collected Writings of David Craven brings together more than thirty essays that chart the development of Craven’s voice as an unorthodox Marxist who applied historical materialism to the study of modern art. This book demonstrates the range and versatility of David Craven’s praxis as a ‘democratic socialist’ art historian who assessed the essential role the visual arts play in imagining more just and equitable societies. The essays collected here reveal Craven’s lifelong commitment to exposing interstices between western and non-western cultures by researching the reciprocating influences between First- and Third-World artists, critics and historians.
Marxist Essays on British Art and Art Theory, 1750–1850
At a time of growing interest in relations between Marxism and Romanticism, Andrew Hemingway’s essays on British art and art theory reopen the question of Romantic painting’s ideological functions and, in some cases, its critical purchase. Half the volume exposes the voices of competing class interests in aesthetics and art theory in the tumultuous years of British history between the American Revolution and the 1832 Parliamentary Reform Act. Half offers new perspectives on works by some of the most important landscape painters of the time: John Constable, J.M.W. Turner, John Crome, and John Sell Cotman. Four essays are hitherto unpublished, and the remainder have been updated and in several cases substantially rewritten for this volume.
Time holds an enduring fascination for humans. Time and Trace investigates the human experience and awareness of time and time’s impact on a wide range of cultural, psychological, and artistic phenomena, from reproductive politics and temporal logic to music and theater, from law to sustainability, from memory to the Vikings. The volume presents selected essays from the 15th triennial conference of the International Society for the Study of Time from the arts (literature, music, theater), history, law, philosophy, science (psychology, biology), and mathematics. Taken together, they pursue the trace of time into the past and future, tracing temporal processes and exploring the traces left by time in individual experience as well as culture and society.

Contributors are: Michael Crawford, Orit Hilewicz, Rosemary Huisman, John S. Kafka, Erica W. Magnus, Arkadiusz Misztal, Carlos Montemayor, Stephanie Nelson, Peter Øhrstrøm, Jo Alyson Parker, Thomas Ploug, Helen Sills, Lasse C. A. Sonne, Raji C. Steineck, and Frederick Turner.
Author:
The legacy of the relationship between African American writers and Communism in the US is a contested one. Bergin argues that in three novels, by seminal mid-century authors (Wright, Himes and Ellison) Communism is not dismissed as incapable of meeting the demands of black political identity but is castigated for its refusal to do so. A detailed focus on the political milieu in which these texts operate challenges many of the presumptions about the ‘inability’ of Communism to comprehend racial oppression, which dominate literary critical approaches to these novels. She draws on the complex formations black political agency presumed and reproduced by American Communism during the Depression.
Author:
What is the relationship between music and time? How does musical rhythm express our social experience of time? In Groove: An Aesthetic of Measured Time, Mark Abel explains the rise to prominence in Western music of a new way of organising rhythm: groove. He provides a historical account of its emergence around the turn of the twentieth century, and analyses the musical components which make it work.
Tracing the influence of key philosophical arguments about the nature of time on musical aesthetics, Mark Abel draws on materialist interpretations of art and culture to challenge those, like Adorno, who criticise popular music’s metrical regularity. He concludes that groove does not simply reflect the temporality of contemporary society, but, by incorporating abstract time into its very structure, is capable of effecting a critique of it.