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This paper aims to inquire for the sociodemographic structure of the Venezuelan occupied labour force and its differences in comparison to the national occupied labour force in the city of Bogotá, Colombia. To achieve this purpose, this research relies on data for the year 2021 from the Integrated Great Survey of Households (Gran Encuesta Integrada de Hogares - GEIH), a monthly socio demographic survey GEIH that captures information related to the main characteristics of the studied population. In this sense, comparisons in terms of educational levels, income, occupational status, family structure, gender and age groups were done in order to determine differences and common patterns. Finally, a hierarchical cluster analysis strategy was proposed to identify possible sociodemographic typologies of the Venezuelan labour force.

This paper compares Léon Walras’ and Augustin Cournot’s views on monetary regulation. It shows that whereas Cournot believed discretionary monetary regulation to be convenient and acceptable, Walras held that the only acceptable monetary system is based exclusively on the stability of the value of money under a monetary rule following a strict equivalence between metallic reserves and a pure medium of exchange form of money. The paper also advances Cournot understood more clearly than Walras the evolution of the monetary system of their days because Walras was trying to guarantee the coherence of his pure theory with his applied theory, which made him unable to accept the evolution toward a monetary system based on fiat money.

In the context of Judiciary or Forensic Linguistics, this paper shows the results of a study on rhotic consonants in prepausal position (in the spontaneous speech of central peninsular Spanish) in order to assess their forensic value for identifying speakers. The variables that have been analysed are the number of components and the acoustic features of the first and second components of the consonant, which correspond to the closure and opening phases, respectively. The results have shown some significant differences amongst speakers, which is why the rhotics are considered a useful segmental element in comparing speech samples on judiciary purposes

Among the archival documents of the Real Sociedad Económica de Amigos del País de Valencia (RSEAPV), there is a very interesting set regarding the strike of a medal by this society honouring Manuel Godoy, the so-called “Prince of the Peace”. It was in January 1807 when the RSEAPV decided to appoint him supporting member of this Royal Society and, in appreciation for his acceptance and to commemo-rate his recent appointment to the Great Admiralty of Spain and the In-dies, to strike the medal that I’m introducing with this review. The de-tailed study of this documentation allows us to go beyond the images depicted on the reverse of the medal and to set its significance in the historical context of its time.

Iconographic and iconological analysis of an early XX century costa rican piece of paper money. Research conducted using primary and secondary sources, following the iconographic method and by respecting the gradual implementation. Achieving the iconographic origin of the greek god Hermes, his artistic and symbolic link with the costa rican elite of the time, the theme of the engraving and the engraver’s artistic style. On the other hand, close relations between costa rican liberal political thought and the French social philosophy known as positivism are plotted; taking and headline thinker Auguste Comte, more influential among Latin American elites in the second half of the nineteenth century and early twentieth century theorist. Positive thinking is identified as the source of the Costa Rica liberal project, which sought to moralize and civilize the population through cultural transformation, aspiring to be approved with the culture, they argued more developed: the European. On the high social notions of Order and Progress, the liberal project drew various means to implement its program of international social ascent, and between these pathways used paper money as visual and conceptual support, wherein the printed costa rican elite culture of their time, their dreams, ideologies and paradigms. Thus, the process of costa rican cultural imposition led by leaders who despised national culture and kept their goals in Europe. Thus the study of this historical moment is as vital to understand the first official project for the construction of a costa rican national identity.

In our paper we present and make a brief discussion of the issuing of paper money (1781) in Puerto Rico under the reign of Charles III (Carlos III), in response to the lack of the “Situado Mexicano” and the war between Spain and England. There was a previous issue of paper money in 1766, due to the lack of the “Situado Mexicano” which was supposed to be received annually in Puerto Rico. Very little is known about the history of both issues, but the issue of paper money in 1766 and this issue of 1781, entitles Puerto Rico to be listed as the first country in Latin America (still under Spanish rule) to issue paper money; also, evidence suggests that rudimentary printing existed on the island 25 years before the commonly accepted date among historians in Puerto Rico (1806).

The research approaches civic engagement from the perspective of Intermedial Studies, shedding light on different strategies of ‘mediation’, the way people engage in civic practices and shape the public sphere in postdigital culture. The paper explores the evolution of civic webs, living labs, forms of meaningful play in ludified transmedia practices, and serious videogames as diverse media that can address the intersection of civic engagement and sustainable development. A focal point of the research is the role of intermedial participatory strategies to promote a sociocultural scenario sensitive towards United Nations' Sustainable Development Goals (SDGs) related to urban planning, smart cities, and environmental issues. Building upon this starting point, the study extends to the transformative realms of transmedia storytelling and the difference between ludification and gamification, elucidating the main role of game-based public participation to fostering community engagement and eco-digital literacy. The paper supports the empowering potential of multiplatform, co-creative and experimental environments in advancing communal pursuits of sustainable goals in interconnected and offline contexts for sociocultural innovation.

This paper explores the widespread practice of adding multiple inscriptions to a single artwork at different times in the fifteenth to seventeenth centuries China. Such practices became prominent when literati painters revisited artworks they had previously created or owned, or when paintings had accumulated a multitude of inscriptions over time. Within the realm of Chinese art discourse, this phenomenon is denoted as “re-inscriptions.” By examining re-inscriptions written on extant paintings and embodied in individual anthologies, this paper demonstrates that these texts transcended the boundaries of art and touched upon the painters’ own lives and the society in which they lived. On the one hand, literati painters engaged in a dialogue with their past selves through re-inscriptions, exploring themes of mortality, aging, and the passage of time – topics seldom addressed in traditional Chinese painting. On the other hand, they utilized re-inscriptions as a means of social interaction, with some re-inscriptions becoming formulaic, adaptable to various artworks to meet different social needs. Furthermore, when faced with preexisting inscriptions on an artwork, artists added new ones for a conversation with their predecessors. Throughout this process, the accumulation of inscriptions transformed the artwork into a layered cultural narrative, and enabled the literati painters in shaping a elite community transcending time and space.

This paper investigates how Chinese taxi drivers utilize low-tech equipment, such as handheld radios and mobile phone services, to form local ride-hailing networks. Previous studies have analyzed how Internet platforms like Didi Chuxing have reshaped labor relations through technology and policies, but they have ignored the fact that outside metropolitan areas, traditional technological solutions, such as on-call radio platforms, have not been replaced by the rapidly expanding ride-hailing platforms. Therefore, to outline China’s diverse ICT practice environment, this paper focuses on a case study in two Chinese towns (Laizhou, Shandong; Ziyang, Sichuan), shifting the attention from metropolitan areas to neglected fourth- and fifth-tier cities. After reviewing the previous advancements in mobile communication technology, we discuss the economic, cultural, and social motivations behind the use of ‘low-tech’ devices and cooperative services by the Chinese taxi drivers in question.

With the development and application of algorithms as catalysts, the changing modes of information production, dissemination, and consumption have also given rise to a myriad of serious ethical challenges. This study employs a multi-case approach and semistructured in-depth interviews to examine three prominent international information technology companies, namely, Meta, Sina, and Byte Dance. By investigating the utilization of algorithms in content creation and distribution and adopting an epistemic, ethical framework, this paper analyzes the phenomenon of information cocooning resulting from inconclusive algorithmic evidence, the presence of algorithmic black boxes stemming from inscrutable evidence, and the issue of algorithmic bias caused by misguided evidence. Consequently, this paper proposes three fundamental ethical principles for algorithmic systems: certainty, interpretability, and reliability.

Este trabajo pretende estudiar las poéticas explícitas del poeta Antonio Gamoneda desde el punto de vista del contenido, basándose en las últimas propuestas teóricas al respecto, con el fin de llegar a conclusiones relevantes para el ámbito de los estudios literarios. El autor, pese a su reticencia a participar en el mundo intelectual, posee una relativamente abundante producción ensayística en forma de textos breves, entrevistas y charlas. A través del análisis exhaustivo de estos materiales se han identificado cinco núcleos temáticos fundamentales que serán desarrollados en el presente artículo: el origen del pensamiento poético, el acto de creación, la relación poesía-muerte, la poesía como no-ficción y la relación de la poesía con la política. A través de esta investigación, se propone al lector una manera distinta y productiva de acercarse al pensamiento y a la obra del poeta leonés. Asimismo, el trabajo plantea una reivindicación de su poética en el contexto literario-sociológico actual. This paper aims to study poet Antonio Gamoneda’s explicit poetics from the point of view of content, based on the latest theoretical proposals in this regard, in order to reach conclusions relevant to the field of literary studies. The author, despite his reluctance to participate in the intellectual world, has a relatively abundant essay production in the form of short texts, interviews, and talks. Through the exhaustive analysis of these materials, five fundamental thematic nuclei have been identified and will be explained in this article: the origin of poetic thinking, the act of creation, the poetry-death duality, poetry as a non-fiction genre and the connection between poetry and politics. Through this research, the reader is offered a different and productive way of approaching Antonio Gamoneda’s thinking. Likewise, the work proposes a vindication of his poetics in the current literary-sociological context.

In 2020, the COVID-19 pandemic exacerbated the precariousness and working conditions of artists and cultural workers globally, including Portugal. Through the research project Práticas Artísticas Confinadas: Resistência e Coletivismo na Pandemia Covid-19 em Portugal (Artistic Practices in Lockdown: Resistance and Collectivism during the Covid-19 Pandemic in Portugal), undertaken between December 2021 and June 2022, it was possible to conclude that amid this crisis, Portuguese cultural workers mobilised collectively to advocate for labour rights, expose irregularities within cultural institutions and secure access to cultural and artistic production. Drawing on these findings, this article focuses on how the restrictions on the use of physical public spaces, which are privileged arenas for protest and participatory democracy as defined by the Portuguese Constitution, compelled these workers to devise alternative approaches to sustain their activism. Thus, the paper examines the strategies employed by cultural workers to circumvent the restrictions by adapting and subverting these spatial limitations. The article concludes with an analysis of how the use of art practices and the performativity of these strategies were crucial in ensuring the continuation of social mobilisation and democratic exercise.

The Enlightened Movement in Spain is widely known for its modernizing effort and its economic and social reform projects in Spain in the 18th and 19th centuries. In line with the European Enlightenment, the ideals of classical liberalism and utilitarianism began to spread hand in hand with the enlightened intellectuals as a paradigm towards the well-being of the people. The anthropocentric turn of the Enlightenment brought with it not only the struggle for the rights of man and the consequent evolution of European absolute monarchies towards enlightened despotism, but also the evolution of the very perception of wealth, well-being and happiness of the society. Thanks to the works of Adam Smith, Thomas Malthus or Jeremy Bentham, the roots of the Happiness Economics can be traced back to the 18th century through the association they made between the economic development of society and the level of happiness. This paper analyzes the project of the Royal Sevillian Economic Society of Friends of the Country for the salted meat trade with the province of Buenos Aires as a case study of the connection between economic development, well-being and happiness in the Spanish Enlightenment through the study of the transcripts of sessions collected in the Libro de Actas No. 1 (1775-1780) and the copies of letters collected in the Book of Correspondence of the Society, as well such as the loose papers available in the Municipal Archive of Seville.

This paper examines the correlation between the form and surface visual narrative of Han bamboo-carved stationery and painting, with the purpose of comprehending how bamboo carving articulates the material and cultural universe of the Han people. During the mid-Ming and Qing dynasties, the Han literati possessed a large number of exquisite bamboo-carved stationeries with landscape motifs. The relationship between bamboo carving landscape motifs and landscape painting is a manifestation of the fusion of Confucian religions in the Han literati culture. We combine a discussion of the decorative motifs in bamboo carving work together with the brushstrokes, techniques and composition of landscape painting in order to explore the expression of culture in bamboo carving. Although bamboo carving art mainly represents the interaction between bamboo carving artists and the material pursuit of literati, it also exhibits the development relationship between painting and craftsmanship. The landscape motif theme of bamboo carving is the representative of craftsmanship and innovation across materials. This is also a valid reason for investigating how Han craftsmanship gradually became professionalized and artistic. The paper argues that bamboo carvings as utensils created a new stage for Han literati culture and facilitated contact with the private market.

Chinese philosophy understood through the key philosophical terms has been made familiar to Western readers by first “Christianizing” it, and then by “Orientalizing” it. Many of new translations of these canonical texts are uncritically perpetuating the same formula for rendering key philosophical terms proffered in the earlier efforts at cultural translation. Those who are working with the Master of Confucianism in China reconsider the Confucian values and attempt to interpret Confucianism in Chinese philosophical context. This paper employs the qualia structure (Pustejovsky 1991) to verify the validation of three important Confucian concepts, rén (仁), lǐ(礼) and dé (德), of the total 92 Confucian conceptual terms from The Analects (Lúnyǚ,《论语》) and Tao-Te Ching (Dàodéjīng,《道德经》) as the case studies. The qualia structure investigates the semantic information of the core characters in both source and target text which can effectively clarify the correspondence in Chinese-English translation in that the equivalent semantic information can be regarded as the equivalent translation. Furthermore, through this research, misunderstandings can be avoided and foreigners will find it easy to understand Chinese culture.

Audiovisual translation and, more specifically, accessibility, have a fundamental role in the multicultural world we live in. Due to cultural and social diversity, there are groups of people who depend on media accessibility services in order to consume audiovisual products because of their physical impairments, one of these services being audio description for the blind and visually impaired people (AD). The aim of this paper is to provide an approach to how humour and cultural aspects travel in audiovisual comedies, and their influence on how audio described scripts are produced in different countries. For this purpose, we will carry out a corpus analysis comparing the Spanish and the American AD versions of the original comedy film Campeones (Javier Fesser 2018) and its remake Champions (Bobby Farrelly 2023). The main findings of this descriptive study suggest that the AD practice of humorous audiovisual texts in a multicultural context is indeed a complex issue that could be addressed by Relevance Theory (Sperber & Wilson 1986), as suggested by Martínez Sierra (2009), although further research is needed.

Regional economic development gained increasing relevance in European policy agendas after the Second World War, especially under the implementation of indicative planning. Likewise, a lively debate arose between the growth poles approach and the balanced growth theory. The main aim of this paper is to analyse this dilemma mainly through contributions from the Revista de Economía de Galicia (Galician Economic Review), as a representative observatory of this controversial discussion in the Francoist regime. National and international contributions underlined the positive potential effects of fostering an upgrading process of traditional sectors as a way of enhancing balanced and endogenous growth.

Charles William Macfarlane (1852-1931) represents an almost unique and completely forgotten economist during the Progressive Era: although he was outside Academis, he was able to take an active part in the theoretical debate of the time by proposing a peculiar version of marginalism far away from the Austrian school version and close the classical approach. This paper deals with Macfarlane’s theory of value and distribution, by discussing its influence in the discipline, and it presents an archival appendix which reproduces an unpublished response by Clark to Macfarlane which provides further evidence on the reception of Macfarlane’s work among his contemporaries.

Abraham Ibn Daud is known as the philosopher who in his Ha-Emunah ha-Ramah (written originally in Arabic c. 1160) transplanted the Aristotelianism of the Muslim falāsifah al-Farabi and Avicenna to Jewish soil. Some 250 years later, Ḥasdai Crescas subjected this system to a severe criticism in his Or Ha-Shem (c. 1410). In his introduction Crescas classifies Ibn Daud as an Aristotelian philosopher but does not refer to him any further. Drawing on previous research by other scholars the paper examines the question to what extent Ibn Daud’s work was relevant for Crescas. Exact literary parallels that point to a unique influence of Ibn Daud on Crescas regarding philosophical doctrines are hard to uncover because Ibn Daud’s philosophical sources are the same as Crescas’s. Moreover, Ibn Daud’s thought displays many similarities to that of Maimonides and also to Gersonides whose views Crescas criticizes. The area of Biblical exegesis yields more results: Crescas can be shown to have drawn on Ibn Daud’s use of certain Biblical verses. Ibn Daud’s interpretation of Psalm 139 in relation to the key problem of God’s knowledge as well as his use of the light metaphor is likely to have inspired Crescas to ponder the question of the relation between philosophy and religion.

This paper presents some aspects of socially engaged art proposals, such as collaborative methods, affective relationships, and the production of the common. Currently, we observe in transdisciplinary projects and collective actions a growing focus on collaborative practices as attempts to go beyond practices strictly engrained in established institutional spaces such as museums, universities, and governmental or private spaces. With the perspective of a certain local activation of collective pieces of knowledge and practices, these artistic proposals aim at the circulation of knowledge, its integration and contamination by unusual places, narratives and methodologies belonging to each daily life. Therefore, we find in socially engaged artistic practices artistic interventions that highlight the power of affects for the production of knowledge managed in communities, making us think about what relationships consist of and how they may or may not give space for the common. We understand that by considering the power of affects and art in their political and social dimensions, we incorporate a discourse of difference that allows for other possible forms of communal living.

By the second half of the 14th century, leasing municipal rents to private individuals (known as tax farming) was already prevailing in most Portuguese municipalities. In this paper, we will study this system of rent collection in two urban centers: Porto and Loulé, in the period between the end of the 14th century and the beginning of the 16th century. In particular, we intend to determine the sociological profile of the tax farmers operating in those two urban contexts, as well as their relationship with local power and royal administration. Ultimately, we expect to identify dynamics of upward and downward social mobility linked to participation in this business, while verifying whether tax farming worked as a platform for social advancement or a consequence of already belonging to the ruling elite. In order to achieve these results, we will analyze the accounting books, and town council minutes available.

This article examines the issue of heterogeneity in relation to workers' representation within digital platforms. Specifically, the research analyses the regulatory process that took place within the food-delivery sector in Italy, investigating how the heterogeneity of couriers is reflected in the Just Eat Takeaway agreement signed in 2021. The novel contribution of this paper is to relate two perspectives – those of workers and unions – that have rarely been considered together in the literature on digital labour platforms. Based on extensive qualitative research in Milan, the heterogeneity of riders is synthesized into a threefold typology identified by three metaphors: the explorer, the entrepreneur and the labourer. It is argued that the introduction of a standard employment contract has led to an increase in workers’ rights and social protection. However, the current form of the agreement favours less vulnerable riders – the explorer – at the expense of those who are more numerous and dependent on platform income – the entrepreneur and the labourer. We conclude that this agreement can be interpreted mainly as a means for trade unions to legitimise their institutional role in the socio-economic arena and strengthen their power resources for future negotiations.

This paper explores how concepts from two influential strands of liberalism, new liberalism and neoliberalism, are represented in a sample of online media articles by analysing news coverage of the Trade Union Act (2016). The analysis centres on internet news items published on the websites of The Guardian, The Daily Mail, Sky News, and BBC News. To systematise the analysis, three thematic axes were constructed: a) Democracy, Law and Order; b) Civil and Labour Rights; c) Military Metaphors, Privileges and Trade Unions.

How the animal is represented in art is a topic that, given the ecological emergency, must be addressed in literary studies. This paper performs a comparative analysis of three poems by renowned authors from the Hispanic literature (Iriarte, Lorca and Neruda) whose protagonist is a lizard. This shows different ways of anthropomorphizing the same subject and how its poetic effect is reflected on to the lizard as an animal. Thus, this paper arises in which way the portrait of another living being can be faced, and which one is the most appropriate for a non-anthropocentric discourse.

The article analyses one of Japanese calligraphy’s (shodō 書道) particularities: the notion of “emptiness”, “nothingness”. This concept can be observed in different layers of the art: from the white of the paper, to the movement of the brush after it has been lifted from the paper to the interpretative process. In this way, there are instances of “emptiness” during several stages of creation and understanding of a calligraphic work. In order to illustrate this, our article will analyse two shodō 書道 works, pinpointing the use of “emptiness”, or “nothingness”, and the effect they create for the calligraphic work as a whole. We conclude that in order to grasp the transcendent meaning, one must take into account all elements present within a calligraphic work, including the instances of “emptiness”.

Este paper visual da cuenta del proyecto Jababacoa del colectivo artístico C.A.S.I.T.A (Loreto Alonso, Eduardo Galvagni y Diego del Pozo) + Luis Gárciga. El proyecto comenzó con la instalación de un taller de confección textil en el Museo Histórico de Guanabacoa (La Habana, Cuba). Con máquinas de coser modernas y todos los materiales necesarios, se convocó a las antiguas trabajadoras de los talleres textiles que hasta los años noventa podían encontrarse en el municipio de Guanabacoa. Se trataba de la creación de un espacio, pero también de una reconstrucción de la historia oral de estas mujeres, así como de la oportunidad para compartir posiciones y preguntas sobre modos de producción y nuevos imaginarios. Con los materiales documentales y las ideas que surgieron en la colaboración, realizamos una instalación audiovisual con proyecciones de videomapping que se presentó en el Centro de Desarrollo de las Artes Visuales para la XIII Bienal de La Habana en 2019. Recordar colectivamente las prácticas de mujeres de estos antiguos talleres de costura es el punto de partida desde el cual desplegamos muy distintos ejes de reflexión y creación, como lo industrial y lo artesanal, y sus implicaciones en los modelos productivos, la identidad local y el patrimonio, la producción afectiva ligada a las condiciones de trabajo, y las formas de conciliar vida privada y laboral, especialmente la manera en la que las mujeres consiguen ser trabajadoras, amas de casa, madres, hijas, etc. Se trata de reactivar una memoria colectiva que queremos inscribir en el contexto de un museo de historia, para lo que convertimos una de sus salas en taller de confección. Las jabas o bolsas que confeccionamos son objetos-relatos de un proceso de transmisión oral de fragmentos de la memoria colectiva, que comparten una perspectiva feminista y que orbitan alrededor de experiencias de vida en los años 90´s, momento en que los talleres textiles semi-industriales empezaron a cerrar o transformarse como consecuencia relativa a la caída del bloque de países socialistas en Europa del Este. Los materiales producidos y la documentación de la experiencia se presentaron en el Museo Histórico de Guanabacoa, en el que también organizamos una charla con especialistas de patrimonio industrial e historia del municipio, como parte del programa de actividades públicas de la Bienal. Como elementos simbólicos, hemos tenido muy en cuenta la necesidad de transmitir no solo los contenidos de una historia de trabajo y producción, sino los afectos que la experiencia de los talleres dejó en sus trabajadoras, así como la huella de su desmantelamiento en términos económicos, pero sobre todo humanos. La instalación refleja algunos elementos simbólicos y da cuenta de un constante cambio de las escalas entre lo individual y lo global, o de lo local y lo universal. Jababacoa propone añadir a la identidad histórico-cultural de Guanabacoa, frecuentemente relacionada con las prácticas religiosas afrocubanas, su pasado obrero como centro de producción industrial. A través de conversaciones entre las participantes y de la creación de situaciones, tratamos el concepto de trabajo más allá de su dimensión remunerada, para visibilizar sus implicaciones sobre lo identitario y lo afectivo, y los procesos de subjetivación e interrelacionalidad. Trabajamos públicamente con estos asuntos para poder, a partir de esta identificación, conseguir referencias comunes para futuros posibles. This visual paper provides an account of Jababacoa, a project by the artist collective C.A.S.I.T.A (Loreto Alonso, Eduardo Galvagni and Diego del Pozo) + Luis Gárciga. The project started with the mounting of a textile manufacturing workshop in the History Museum of Guanabacoa in Havana, Cuba. With modern sewing machines and every necessary material, former workers of the textile workshop, who could be found in Guanabacoa until the 90s, were convened. It was about the creation of a space, but also about the reconstruction of these women’s oral history. Additionally, it was an opportunity to share standpoints and questions about production methods and new imaginaries. With documentary material and the ideas that came up during the collaboration, we created an audiovisual installation with video mapping projections that was exhibited in the Visual Arts Development Center for the 13th Havana Biennial in 2019. Collectively remembering women’s practices in these former sewing workshops is the starting point from which we unfolded very different paths of analysis and creation, such as theindustrial and the handcrafted, their implications in production models, local identity and patrimony, the emotional production linked to the working conditions, and the ways to reconcile private and work life, especially how women manage to be workers, housekeepers, mothers, daughters, etc. It is about reactivating a collective memory that we want to inscribe in the context of a history museum. To do that, we transformed one of its rooms into a textile workshop. The jabas or bags we manufactured are both objects and tales of an oral transmission process of collective memory fragments that share a feminist perspective and orbit around life experiences in the 90s, when semi industrial textile workshops began to close or to be transformed as a consequence of the fall of the socialist bloc in Eastern Europe. The resulting materials and the documentation of the experience were introduced in the History Museum of Guanabacoa, where we also organized a talk with specialists in industrial patrimony and the town’s history as part of the Biennial’s public activities program. Regarding symbolic elements, we have kept in mind the need to transmit not only the contents of a history of labor and production, but also the emotional footprint that the workshop experience left on its workers, as well as the mark left by the workshop dismantling from an economic and, more importantly, a human perspective. The installation reflects some symbolic elements and highlights the constant change in the scale between the individual and the global, or the local and the universal. Jababacoa sets out to add Guanabacoa’s laboring past as an industrial production center to its historical and cultural identity, which is frequently associated with Afro-Cuban religious practices. Through conversations among the participants and the creation of situations, we addressed the concept of labor beyond its monetary side, raising awareness about its implications on identity and emotions, and the processes of subjectification and interrelationality. With this identification as a starting point, we worked on these issues together with the public to be able to get common reference points for possible futures.

The paper examines the roles of Crescas and Spinoza in the transition from the medieval to the modern conception of the universe. Crescas is presented as an illustrative example of the tension between Aristotelianism and revealed religion and how the latter brings about the dissolution of the former, thus paving the way for the modern conception of the universe. It is then showed how this modern conception is embodied in Spinoza’s thought, which radicalizes some of its defining traits. This radicalization undermines the traditional conception of the Deus absconditus and leads in Spinoza to the replacement of religion by philosophy as the true divine revelation.

This work is structured around two exploratory objectives. Firstly, it aims to analyse the effects of connective participation and consumption in which donations in political crowdfunding campaigns can be framed. Secondly, it will study the characteristics and socio-demographic profile of the people who donate to political crowdfunding campaigns. In order to obtain information, we have developed a questionnaire that has resulted in a non-probabilistic purposive sample of one hundred and twenty-five valid and complete responses. The paper closes with a discussion and the presentation of two hypotheses that reflect the main findings of this exploratory study. On the one hand, the characteristics and profile of the participants would be predominantly male, middle-aged (thirty-six to fifty years old), with a high level of formal education (university studies) and a medium income level. On the other hand, the participation analysed is hegemonic among activists with experience and commitment. This fact could reflect an increase in participatory inequalities between participatory and nonparticipatory people as a consequence of the characteristics of the forms of connective action and consumption.

El objetivo de este texto es analizar la importancia de los enfoques aportados por el ecologismo en el ámbito ideológico y en la práctica de oposición durante la transición española a partir del marco de estudio que ofrecen las comunas rurales. Para ello, se estudia la evolución de los imaginarios en torno a este modelo comunal, desplegados en dos revistas de referencia del contexto contracultural de finales de los años setenta, Ajoblanco y Alfalfa, así como en algunos libros publicados por activistas ecologistas de referencia a comienzos de los ochenta. A través de este enfoque, el artículo se interroga por la persistencia del compromiso con las cuestiones ecológicas en los grandes movimientos sociales de la España contemporánea desde el fin de la Dictadura en adelante, al tiempo que subraya la necesidad de explorar en profundidad episodios de la historia reciente que permitan enriquecer los relatos relacionados con la cultura visual y la memoria de los movimientos sociales en el Estado desde una perspectiva ecologista. The aim of this paper is to analyze the importance of the approaches contributed by ecologism in the ideological sphere and in the practice of opposition during the Spanish transition from the framework of study offered by rural communes. To this end, the evolution of the imaginaries surrounding this communal model, deployed in two magazines of reference in the countercultural context of the late seventies, Ajoblanco and Alfalfa, as well as in some books published by leading environmental activists in the early eighties, is studied. Through this approach, the article questions the persistence of the commitment to ecological issues in the great social movements of contemporary Spain from the end of the Dictatorship onwards, while stressing the need to explore in depth episodes of recent history that allow us to enrich the narratives related to visual culture and the memory of social movements in the State from an environmentalist perspective.

Literature on the semiology of dance is scarce and not well integrated so far. A comprehensive review of the scholarly research would allow showing which themes are the most critical ones, and what is still needed to develop this research field. In this article we aim to fill this gap by conducting a bibliographic review of papers published in Web of Science (WoS), Scopus, Dialnet, ÍnDICEs-CSIC, EBSCO, and Google Scholar from 2000 to 2022. Our review shows that within the field of dance, previous studies have emphasized the coexistence of various dynamic elements whose main purpose is to shape the construction of the play and facilitate understanding in the dance communication process. We highlight the relevance of focusing on the spectator as constructor of meaning and participant of the symbolism of the act, and not only as a passive observer.

This paper proposes a novel source for –or at least influence on– the iconography of the Moon trump in the Rider-Waite Tarot deck, which preserves the design from the Tarot de Marseille. In fact, the Moon template appears to date back to the earliest days of the Tarot. The proposed source or prototype is a Greco-Roman talismanic design against the Evil Eye known as the “all-suffering eye”, which frequently occupies the reverse face of Byzantine copper/ bronze “Holy Rider” amulets. The paper identifies compositional elements that correspond in the Evil Eye and Moon card designs, presents reasons why the moon and the Evil Eye might have been thought of as cognates, and considers other likely inputs into the Moon card’s visual program.

This article proposes some potential contributions of contemporary art to industrial and technological heritage discussions. The paper analyses the relations among art, industrial ruins, technological trash, heritage, and society from an archaeological perspective, although this standpoint is compared to and complemented with those of art and art history. First, the text presents how industrial sites and technological artefacts from the recent past are transformed for/by the artists. In doing so, it offers a preliminary basic typology of art-obsolescence relations illustrated with cases from Europe, Asia and the Americas. Four major kinds of interactions are introduced: the conversion of abandoned industrial buildings into art galleries and museums; the transformation of larger obsolete industrial/technological areas into creative hubs; the intervention of artists in industrial ruins; and the creative recycling of technological waste. Second, the text infers from the examples provided in the typology three possible functions of art regarding heritage: revelation/addition of value; mediation between the public and dark heritages; and recognition in technological and industrial history. In the end, the paper defends the role of art in the making of industrial and technological heritages, as well as in reconnecting them to society.

Resumen Este paper visual es una materialización virtual de un conjunto de sesiones de trabajo específicas del Grupo de investigación del IEP —Instituto de Estudios del Porno—. Parte de una voluntad por poner en práctica metodologías de producción de pensamiento que se desmarcan de las inercias logocéntricas, incorporando así un desplazamiento de las dinámicas de autoría clásica hacia formas de pensar y crear colectivamente. Esta propuesta apuesta por conjunciones de saberes distintos, de encuentros entre la investigación histórica, el trabajo con imágenes, el pensamiento crítico y la revisión de debates contemporáneos alrededor de los feminismos y las políticas del cuerpo. Jugamos con el lenguaje del boceto, del meme y del cómic. Interpeladxs por los actuales ataques hacia la realidad de las trabajadoras del sexo en el terreno legislativo, el texto-imagen ofrece este asunto desde otra perspectiva. A través de la personificación de un elemento prostibulario, significante e histórico, como la Carassa, damos cuenta de aquellas capas, perspectivas y realidades necesariamente olvidadas para la construcción de un discurso estatal regulatorio que continúa con políticas prohibicionistas y censuradoras de/contra la sexualidad y sus economías. Abstract This visual paper is a virtual materialization of a set of specific working sessions of the research group of the IEP -Institute of Porn Studies-. It is based on a desire to put into practice methodologies for the production of thought that break away from logocentric inertias, thus incorporating a shift from the dynamics of classical authorship towards ways of thinking and creating collectively. This proposal bets on conjunctions of different knowledge, of encounters between historical research, work with images, critical thinking and the review of contemporary debates around feminisms and body politics. We play with the language of sketches, memes and comics. Challenged by the current attacks on the reality of sex workers in the legislative field, the text-image offers this issue from another perspective. Through the personification of a prostibulary, significant and historical element, such as the Carassa, we account for those layers, perspectives and realities necessarily forgotten for the construction of a regulatory state discourse that continues with prohibitionist and censoring policies of/against sexuality and its economies.

In 1971, Rockne Krebs presented an immersive artwork composed of the optical phenomenon of the camera obscura, among other elements. Although this artist appears to be the first interested in this phenomenon, it was only from the 1990s onwards that the artistic practice of camera obscura as room installation became widespread. In the decades since, several authors have included it in their production—developing projects of a photographic nature through different approaches, mainly focusing on projected image or spectator participation. Through the method of media archaeology, it is possible to find three lines of contemporary artistic research on the phenomenon: camera obscura related to meta-photography in Abelardo Morell’s works; immersive installation pieces as proposed by Zoe Leonard; and projections of other worlds in the work of the artistic duo João Maria Gusmão and Pedro Paiva. This paper aims at a comparative study that intends to analyze these three paths, underlining the characteristics of some contemporary artworks and contextualizing their elements to the history and use of camera obscura in the photographic context.

Galtung's definition of an A-B-C conflict is entirely general. In particular, it applies to the inner conflicts treated by Freud's psychoanalytic theory. Galtung’s A-B-C is then applied to both Patient and Analyst during the interaction of analysis’ sessions; in which these two triads actually fuse into a single triad so that they represent a single personality elaborating through the analysis his internal conflict. In addition, Freud’s short paper on the beginning of the psychoanalytic treatment leading to solve the conflict, is interpreted in a rigorous logical way which attributes a great importance to the doubly negated propositions for starting Analyst’s healing process. The propositions of this kind occur within many other theories as a characteristic feature of a theoretical organization which is aimed at solving, like Freud’s theory, a given problem and hence it is alternative to the usual deductive-axiomatic one. The development of this theoretical organization is composed by four steps converging to the resolution of the problem at issue. The non-mechanical nature of the last step is illustrated and it is limited to a realistic attitude by means of two constraints. By recognizing both the four steps and the two constraints within Freud's theory, the entire dynamics of the inner conflict resolution emerges. These four steps are then attributed to the dynamics of conflict resolution in general.

At a time when humanity finds itself enveloped by conflicts of different kinds, violence, greed and crimes at various levels, the world hungers for peace and nonviolence. The United Nations talks about how conflict and violence ‘are currently on the rise’. It talks of the rising involvement of non-state actors like political militias, criminal and international terrorist groups. Amongst the dominant forces behind conflicts according to the United Nations are unresolved regional tensions, breakdown in the rule of law, absent or co-opted state institutions, illicit economic gain and the scarcity of resources. (https://www.un.org/en/un75/new-era-conflict-and-violence) The aim is to constantly work to find frameworks and practical models to end these conflicts. The challenge is not just to find solutions for cessation of these conflicts but also to address the root cause of these violence. In most of these conflicts, there are attempts to encourage sanitization of language and distort reality; in many occasions there is use of language to demonize groups and normalize violence. Communication hence can be said to fuel all forms of violence – direct, structural and cultural. Using case studies of integrating Mahatma Gandhi’s nonviolent communication in different settings and social institutions, the paper will look at how this approach of nonviolent communication can help in bringing change in attitude and behavior of the conflicting parties and aid in the resolution of the conflict.

The present paper discusses how various elements in shōjo manga (Japanese comics for girls) have been incorporated in works of Japanese contemporary literature. The connection between shōjo manga and literature was pointed out for the first time when the novel Kitchen by Yoshimoto Banana was published in 1987. This paper argues that this connection has developed further since then, focusing on one of the most active writers in contemporary Japanese literature, Miura Shion[1]. The paper briefly introduces the genre shōjo manga and describes its connection with the novel Kitchen before analysing a short story and an essay by Miura Shion, focusing both on their motifs and styles, to identify elements influenced by shōjo manga.

The theory of the long-run perspective aims to explain how economies grow. On the other hand, Kaldor developed a theory that concerns not only this objective but to build a model also considering the implications in the income distribution. This paper consists of a rigorous review of the evolution of Kaldor’s Theory, treating with government activities, the financial market, and so on, to show the importance of the theme in our days. One contribution of this paper is to lead the researchers to a solid understanding of Growth and Income Distribution Models derivate from the Cambridge School and to present a new vision of the relevance of the heterodox scientific world.

This paper explores the experience of women in academia by looking both back and at the present. We consider two women who searched for and found academic accomplishment. Together, they serve as representatives of a new way of living for women in the late-19th and early-20th centuries. Eliza Ritchie (1856-1933) from Canada and María Goyri (1873-1954) from Spain are exemplars of the emerging contributions of women in the academy as part of the changing role for women in Western culture and the need for women to support each other in shared feminist causes. These women shared the same time period, the same intellectual values, the same commitment to scholarship, and the same incredible determination to help develop a modern society that could embrace the full incorporation of women. This paper considers their accomplishments in light of academia today in both Canada and Spain in regards to the advancement of women. It also examines some lingering inequalities in terms of tenure and promotion, salary, research capacity, administrative and leadership positions. Such an international collaboration contributes to the shared sense of sisterhood for women in academia today.

Unconventional monetary policy was implemented as a result of the financial crisis and resulted in rising asset prices in the stock markets. While the increase in asset prices is not exclusively triggered by unconventional monetary policy, central bankers accept that unconventional monetary policy has resulted in distributional effects on wealth, and that these are not negligible. What is missing are studies analyzing whether these non-standard monetary policies have different distributional effects on women and men. The intent of the paper is to interrogate whether unconventional monetary policy of central banks has a gender bias that operates in favor of men as gender and against women as gender. Relying on insights from feminist economics, the paper uses the results of the ECB Household Finance and Consumption Survey (HFCS) of 62,000 household across 15 euro-area countries. While the results are tentative, they show an asymmetric distributional gendered impact. Since the rich own more assets than the poor, and since monetary easing works in part by raising asset prices, these unconventional policies may unintentionally benefit the wealthier quintile (on average more male) at the expense of the poorer strata of society (on average more female).

The aim of this paper is to explore the grammatical category of person in Italian, taking into consideration social deixis in the communication that takes place through Facebook. Social deixis is understood here as various means by which information of social nature is coded and grammaticalizedin a language. Such information concerns the situational context of the communication, social roles of its participants and their reciprocal relations (cfr. Levinson 1993: 83). The analysis focuses on phenomena that are related to social deixis such as personal pronouns, possessive pronouns and adjectives, verb forms, honorific titles, diminutives. Facebook has been chosen as a source of authentic material due to its expansion in Italian society, which allows a fairly detailed exam if heterogeneity of Facebook users is considered (in terms of age, sex, level of education, social group). Precisely, the paper takes into consideration 155 comments published to the profiles of three important Italian public figures: Sergio Mattarella, Matteo Renzi and Roberto Saviano. Means of communication offered by Facebook facilitate production of everyday, colloquial language, which permits insight into natural and spontaneous realizations of social deixis. Their decoding helps to highlight the changes that affect the rules of politeness in today’s communication. The phenomena of growing informality or infringement of good manners are caused, or at least reinforced, by the arrival of new means of communication such as Facebook, but they simply illustrate a certain tendency, already present in contemporary Italian.Their decodification helps to highlight the changes that affect the rules of politeness in today’s communication. The phenomena of growing informality or infringement of good manners are caused, or at least reinforced, by the arrival of new means of communication such as Facebook, but they simply illustrate a certain tendency, already present in contemporary Italian.

This paper is focused on private tomb scenes with mourners dated to the end of the 18th Dynasty located in the Egyptian Memphite necropolis, with a special interest on the artistic resources and the clear division of groups according to the gender of mourners, as mourning men in expressive attitudes are particularly rare in ancient Egyptian scenes. The presence of men in grief, together with the traditional female mourners, within the funerary procession is striking, portraying expressive poses which provoke feeling of empathy and sorrow in the beholder. Indeed, the expressions of feelings in mourning scenes and their diverse artistic treatment in Memphite tomb decoration reveals the innovation and originality of the artists, features that could be traced back to the reign of Akhenaten. This paper explores the complex process of creation of the funerary iconography of the Post-Amarna art, a period of religious, political and social changes which were mirrored in private tomb scenes.

The paper presents Eastern-Slavonic rushnyks (embroidered towels with a sacral meaning) with the images of death. Despite the fact that the origin of them was printed cross-stitch papers, these images became folklorized, as there have been many transformations in folk culture (both formal and mental). The aim of the article is to show different understandings of one and the same picture (a grave cross with guelder roses twigs wrapped around it and two birds sitting against each other on the twigs) and the typical inscription (“My grave is under the cross; my love is on the cross”) to it. This is possible by analyzing various combinations of mentioned visual and verbal formulas with others that were also embroidered on rushnyks in conjunction with the previous ones. The author makes the conclusion that hanging on the walls, Eastern-Slavonic embroidered towels with such formulas presented, for the most part, memento mori topic, demonstrating various forms and manifestations of passing away.

With the advent of artificial intelligence (AI), 'AI art' was born, and the concept of 'AI aesthetics' was derived. Despite the emergence of this new concept in art theory, the question of whether artworks created by AI have artistic and aesthetic value still needs to be debated in academia. While new concepts related to AI art are emerging, the discussion of whether a sustainable and critical theory system can be constructed in the field of computers and art, which is most closely related to it, ought to be focused on AI itself to explore whether it possesses similar characteristics of creativity and emotion as traditional art creation processes. This paper will first analyze the origins and possibilities of AI art and then explore the enormous impact of the rise of AI art on current and future human society in 4 dimensions: creativity, motivation, self-awareness, and emotion.

It is argued that legal language should be formal, precise and clear to avoid ambiguity and/or misunderstanding. As rights and duties are communicated through modals, clarity and precision in drafting and translating them is crucial. Otherwise, there is a possibility of conveying loose messages in the source text or different and/or inconsistent messages in the target text. However, the drafting of Arabic modal expressions does not follow clear guidelines, and their translation differs from one translator to another. This paper investigates how deontic modality of obligation and prohibition is used in The Leeds Annotated Parallel Corpus of Arabic-English Constitutions in comparison to The Leeds Monolingual Corpus of English Constitutions. More specifically, the paper presents a classification of these modal expressions and investigates the different lexical variants expressed in a Corpus of Arabic Constitutions. The paper uses corpus-based tools to analyse the different lexical forms used for deontic modality of obligation and prohibition in Arabic and how they are rendered into English. Results of such analysis are compared to a non-translated Corpus of English Constitutions to find out whether the deontic meaning of the modals is comparable to the set of deontic modals used in the constitutions originally drafted in English. The corpus-based analysis gave a detailed classification of a variety of modal expressions used in the Arabic Corpus. It also showed that the translation of deontic modals of obligation and prohibition from Arabic into English is influenced by the source text lexical variations; however, the corpus techniques employed in the study managed to capture some comparable modals in both corpora.

This paper works on the notion of transgenre (Monzó-Nebot 2001a, 2002a, b), its uses and possibilities in the study of translation as mediating intercultural cooperation. Transgenres are discursive patterns that develop in recurring intercultural situations and are recognized and used by a community. Based on the reiteration of communicative purposes and individuals’ roles in translated situations, interactions are conventionalized to streamline cooperation between cultural and social groups, thereby engendering a distinctive set of taken-for-granted assumptions and meaning-making mechanisms and signs which are particular to a translated event. The paper will first argue how this concept takes a step beyond the existing proposals from cultural, social, and linguistic approaches, especially the third space, the models of norms and laws of translation, and universals and the language of translation (translationese), by focusing on the situatedness of textual, interactional, and cultural patterns and providing a means to model and measure the development of translation as a discursive practice, as such influenced by historical, cultural, social, cognitive, ideologic, and linguistic issues. Then existing applications of the concept and new possibilities will be identified and discussed. The results of existing studies show translations build a third space of intercultural discursive practices showing tensions with both source and target systems. The legal translator is at home in this third space, resulting from their own cultural practices, which are linked to translators’ specific function in a broader multicultural system.