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Copyright of Nouvelles Vues: Revue sur les Pratiques les Théories et l'Histoire du Cinéma au Québec is the property of Observatoire du Cinema au Quebec 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.)

Résumé : Destruction des figures tutélaires et de la respectabilité bourgeoise, amour libre, militantisme gay, révolution sexuelle, hédonisme, drogue et délires psychédéliques, errance, barbarie destructrice et provocation… sont autant de thématiques qui remplissent, chez l’Argentin Copi, le « cahier des charges » contre-culturel. Si son œuvre peut être qualifiée de « mineure », c’est uniquement au sens deleuzien du terme car, derrière le masque d’une superficialité apparente, elle est hautement signifiante, subversive, politique, révolutionnaire. Resumen: La destrucción de las figuras tutelares y de la respetabilidad burguesa, el amor libre, la militancia gay, la revolución sexual, el hedonismo, las drogas y los delirios psicodélicos, la vida errante, la barbarie destructiva y la provocación… son temas que componen el «pliego de condiciones» contracultural de la obra del argentino Copi. Si su obra puede calificarse como «menor», es únicamente en el sentido deleuziano del término, ya que, tras una máscara de aparente superficialidad, es altamente significativa, subversiva, política, revolucionaria. Abstract: Destruction of tutelary figures and bourgeois respectability, free love, gay activism, sexual revolution, hedonism, drugs and psychedelic fantasies, wandering, destructive barbarity and provocation…, such countercultural issues are on the agenda of the Argentine writer Copi. If his work can be termed «minor» it is only in the Deleuzian sense, for its apparent superficiality is but a mask hiding its highly significant, subversive, political and revolutionary nature.

Resumen: La serie Nuevos escritores mexicanos del siglo XX presentados por sí mismos lanzada por Empresas Editoriales en la Ciudad de México fue iniciada en 1966 por las autobiografías de Gustavo Sainz y José Agustín de entonces 26 y 22 años. En ambos relatos las construcciones del yo abarcan la infancia y la juventud y se basan en los temas de la vida cotidiana. Sainz y Agustín escribieron sus autobiografías para ser aceptados en el campo literario y ocupar un puesto en él. Al mismo tiempo se delimitan de la tradición poetológica, defienden su propia poética con una intención claramente contracultural. Résumé : La série Nuevos escritores mexicanos del siglo XX presentados por sí mismos lancée par Empresas Editoriales à Mexico a été initiée en 1966 par les autobiographies de Gustavo Sainz et de José Agustín, alors âgées de 26 et 22 ans. Dans les deux narrations, les constructions du soi englobent l’enfance et l’adolescence et sont basées sur les thèmes de la vie quotidienne. Sainz et Agustín écrivirent leurs autobiographies pour être acceptés dans le champ littéraire et y occuper une position. En même temps, ils se distancient de la tradition poétologique et défendent leur propre poétique avec une intention clairement contre-culturelle. Abstract: The series Nuevos escritores mexicanos del siglo XX presentados por sí mismos launched by Empresas Editoriales in Mexico City started in 1966 with the autobiographies of Gustavo Sainz and José Agustín, then 26 and 22 years old. In both stories the constructions of the self encompass childhood and adolescence and are based on the themes of everyday life. Sainz and Agustín wrote their autobiographies to be accepted in the literary field and occupy a position therein. At the same time they distance themselves from the poetological tradition, defending their own poetics with a clearly countercultural intention.

Resumen: Escrita en la cárcel, Se está haciendo tarde (1973) es sin duda la novela más contracultural de la producción de José Agustín. A partir del motivo del viaje, analizamos cómo se atenta contra las convenciones literarias y sociales de la época a través de la inversión de las expectativas del viaje, la recreación de una atmósfera asfixiante y la saturación narrativa. Résumé : Écrit en prison, Se está haciendo tarde (1973) reste sans doute le roman le plus contre-culturel de la production de José Agustín. A partir du motif du voyage, nous analysons comment on y porte atteinte aux conventions littéraires et sociales de l’époque par le biais du retournement des expectatives du voyage, de la recréation d’une atmosphère asphyxiante et de la saturation narrative. Abstract: Written in jail, Se está haciendo tarde (final en laguna) (1973) remains no doubt the most counter cultural novel of José Agustín’s production. Using the journey motif, we analyse how the literary and social conventions of that time are infringed upon through the next items: the reversal of the journey expectations, the recreation of a stifling atmosphere and the storytelling saturation.

At the end of the sixties, the Royal Canadian Mounted Police (rcmp) ordered officers engaged in undercover operations to send reports on drug users and especially hippies. This paper argues that collecting information on hippies was a useful weapon in the battle against softening penalties for marijuana offences since the federal police force was among the strongest opponents of legalizing or decriminalizing marijuana for recreational purposes. By depicting hippies in very negative terms, the rcmp was able to describe them as a threat and argue against their cultural, social, and political demands on the grounds that this was necessary to preserve society as it was. [ABSTRACT FROM AUTHOR]

Copyright of Canadian Historical Review is the property of University of Toronto Press 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.)

At the end of the sixties, the Royal Canadian Mounted Police (rcmp) ordered officers engaged in undercover operations to send reports on drug users and especially hippies. This paper argues that collecting information on hippies was a useful weapon in the battle against softening penalties for marijuana offences since the federal police force was among the strongest opponents of legalizing or decriminalizing marijuana for recreational purposes. By depicting hippies in very negative terms, the rcmp was able to describe them as a threat and argue against their cultural, social, and political demands on the grounds that this was necessary to preserve society as it was. [ABSTRACT FROM AUTHOR]

Copyright of French Journal of British Studies / Revue Française de Civilisation Britannique is the property of Centre de Recherches et d'Etudes en Civilisation Britannique 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 Canadian Historical Review is the property of University of Toronto Press 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 I2D: Information, Données & Documents is the property of ADBS 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 article discusses a network of young artists and intellectuals in a working-class district in the aftermath of May 68. A micro-historic study of the foundation of the café-theatre "Le Cirque Divers" in Roture (Liège, Belgium), a popular district with a strong folkloric tradition, will demonstrate how these new cultural actors mobilize space to define their own identity within a world in transition. By analysing the manifesto and the theatrical parade that was organized for the opening of this cultural venue, this article will demonstrate that these artists not only use space as a physical means but also and especially as a symbolic means. More specifically the choice to work in a working-class district - and, consequently, the rapprochement with popular culture - enables them to revisit the model of bohemian life and, consequently, to appropriate in this way values of authenticity and marginality that are associated with that. In the context of the neoliberal turn in the late 1970s, the choice to settle in a historically popular neighbourhood is therefore not solely motivated by financial motives but reflects an attempt to create a shelter zone built on the phantasm of popular culture and bohemian life. [ABSTRACT FROM AUTHOR]

The end of the twentieth century has been marked y the failure of a critical reasoning usher d in by Enlightenment. The condemning of all ideologies has given way to widespread and generalized cynicism within a society imbued with deception. We shall first of all analyze what has caused this twilight of Modernity to later on evidence that the progressive depersonalization and un-reality, inscribed with poetry of Danielle Collobert, are the reflection of a schizoid society. As a buffer against this cynical power, Sophie Podolski adopts the insolent laugh of the fool appropriated from a Kunica tradition initiated by Diogenes and which extends to Thyl Ulenspiegel. La fin du XXe siècle accuse un échec de la raison critique issue de l’esprit des Lumières : la dénonciation des idéologies a fait place à un cynisme diffus et généralisé au sein d’une société marquée par l’imposture. Nous analysons d’abord ce qui a conduit au crépuscule de la Modernité pour démontrer ensuite que la déréalisation et la dépersonnalisation progressive, inscrites dans la poésie de Danielle Collobert, sont le reflet de la schize sociétale. Face au pouvoir cynique, Sophie Podolski adopte, quant à elle, le rire frondeur du « fou » de la tradition kunique, de Diogène à Thyl Ulenspiegel.

Copyright of Carnets: Revue Electronique d'Etudes Françaises / Revista Electrónica de Estudos Franceses is the property of Associacao Portuguesa de Estudos Franceses (APEF) 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.)

L’approche du texte littéraire peut se définir aussi comme une tautologie qui présente à la fois un vide informatif et un trop plein discursif. Le modèle de la critique littéraire traditionnelle, académique ou postmoderne c’est toujours le même: la tautologie absolue et prestigieuse du tetragrammaton, « Eyeh Asher Eyeh ». L’étude esquisse le drame de l’herméneute en quête des significations dont l’effort de déconstructionreconstruction inaugure une utopie ou une résignation.

Copyright of Recorde: Revista de História do Esporte is the property of Recorde: Revista de Historia do Esporte 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.)

The thought of philosopher Nakai Masakazu (1900-1952) has exerted a quiet but enduring influence on Japanese culture for more than half a century. Nakai began his career studying Kant, discovering in the process Cassirer. But there is also a Marxist dimension to Nakai's writings. This paper focuses on his links to thinkers from the Frankfurt School, who were presented in Sekai bunka (World Culture) as early as 1935. It attempts to understand how and in what sense Nakai's thought can be said - as has been the case since the late 1950s - to provide a model of contemporaneity. [ABSTRACT FROM AUTHOR]

In the early 1970s, while under military dictatorship, Brazil experienced new music developments linked to counter-cultural ideals. Paradoxically, the Brazilian government helped develop the music industry by massively intervening in the economy. As the prospect of a social revolution was getting less and less likely, some musicians adopted hippie, unconventional or desbundadas attitudes and lifestyles, breaking not only with the established order but also with the traditional ways of committing themselves to the nation. While integrating rock and experimental trends to their works, they claimed and asserted subjectivity together with aesthetic, political and sexual freedoms. The article aims at analyzing these works from the perspective of the artistic figures who interacted with MPB (Brazilian popular music) and Tropicalism, as an acronym and a movement formed in the late 1960s. My main hypothesis is that this counter-culture in popular music – including the then widespread notion of desbunde – notably impacted the kind of nationalist essence that had been dominating the Brazilian artistic field until then.

This article aims to reopen the genealogy of video games, studying the similarities they share with what the author calls ‘techno-trance devices’. These devices, which are contemporary to the first video games in the early 1960s, rely on the creative hijacking of laboratory instruments. They share numerous technical and media properties with video games. Moreover, there are some records of these techno-trance devices being used during religious practices at the time, which might lead to speculation of a latent trance influence in video games as apparatuses. These shared properties between video games and these devices, derived from counterculture, are thus studied through the prism of trance and the debates it fostered in anthropology. [ABSTRACT FROM AUTHOR]

Résumé Objectifs Les pratiques actuelles encadrant la souffrance psychique sont fortement teintées de discours d’ascendance libérale ; en témoigne la sortie fracassante du DSM-5 (2013). Si l’arrivée du manuel sur la scène internationale a provoqué un tollé considérable, quelques dizaines d’années plus tôt, son aïeul, le DSM-III (1980), marquait déjà un tournant clé emprunté par la psychiatrie, en relayant le paradigme des structures psychopathologiques (1926–1977) jusqu’alors souverain. C’est pour mieux interroger ce contexte que nous proposons un voyage rétrospectif dans l’antipsychiatrie britannique, en tant que temps annonciateur de quelques enjeux à venir dans le lien social postmoderne. Méthode En centrant notre article sur la genèse du concept de métanoïa ainsi que sur le voyage de Mary Barnes, muse de l’antipsychiatrie, nous proposons d’analyser une filiation énigmatique entre deux discours distincts : l’un ayant trait à l’antipsychiatrie, émergeant dans les années 1960, l’autre relatif à la santé mentale telle qu’abordée depuis le DSM-III (1980) jusqu’à aujourd’hui. Résultats Si le mouvement de l’antipsychiatrie britannique apparaît dans une vague de contestations multifocales caractéristique des sixties et seventies , temps traversé par un vent contre-culturel, il est également fruit de rencontres entre âmes torturées et intellectuels en quête d’exutoire, sur fond d’une société moderne perçue comme aliénante. C’est par cet angle que peut également être analysée une partie du contexte de la postmodernité, à l’aune des expressions de la folie qui affectent des sujets désarrimés appelés à une jouissance illimitée, par essence ravageante… Discussion À Kingsley Hall , Laing conceptualise et expérimente diverses voies de dégagement de la normalité, seule aliénation véritable. Au-delà de sa portée clinique, ce discours antipsychiatrique poussé à son acmé présente le fou comme lieu d’un savoir et seul détenteur d’une véritable « santé mentale ». Il serait le modèle à atteindre, accessible par la métanoïa , voyage permettant à celui qui l’éprouve d’accéder à son moi authentique, gage de libération. Le discours antipsychiatrique peut donc bien être entendu comme un symptôme, message avant-coureur du modèle de santé mentale contemporain : nouvelles classifications psychiatriques mais aussi incidences des mutations discursives sur les expressions psychopathologiques. Conclusion Les discours antipsychiatriques et postmodernes semblent partager un objectif d’amélioration de la personne, celle-ci pouvant être ramenée vers son moi authentique et être ainsi débarrassée de l’aliénation sociale, ou du trouble mental. Si quelques avatars de l’antipsychiatrie capitonnent la postmodernité, quelles sont dès lors les alternatives restantes, entre « folie ordinaire » et projet sanitaire centré sur un individu toujours plus perfectible ? Background Current practices that deal with mental suffering are tinged with liberal discourses; as is seen by the striking publication of the DSM V (2013). If the manual's launch in the international scene caused considerable outcry a few years ago, the DSM III (1980), its forefather marked a new trend in psychiatry that replaced the hitherto paramount paradigm of “psychopathological structures” (1926–1977). Method Focusing our article on the concept of metanoia together with the testimony of the antipsychiatry muse, Mary Barnes, we propose an analysis of the enigmatic filiation between two different discourses: the antipsychiatry discourse and that of mental health. Results Although this movement appears in a wave of multifocal contestations that characterizes the sixties and the seventies, an era filled by counter-cultural trends, it also stems from the meetings between a few tormented souls and intellectuals pursuing a gateway through the context of a modern society perceived as alienating. It's also from a social angle that one can analyze a part of postmodernity, through the expressions of madness that affect shifting subjects destined for unlimited, in essence devastating, enjoyment… Discussion In Kingsley Hall, Laing conceptualizes and experiments various ways to break loose from normality, the only real alienation. Beyond its clinical intent, this antipsychiatric discourse achieves its peak by conceding knowledge to the madman, the only one who is mentally sane. The madman would be the model one could reach thanks to the metanoia, a trip that would permit the one who experiences it to find his/her true self. The antipsychiatry discourse can be understood as a symptom, an early-warning message announcing the contemporary model of mental health: new psychiatric classifications and discursive changes impacting psychopathological expressions. Conclusion Antipsychiatry and mental health discourses seem to share an aim of improving the person by taking him/her back to his/her genuine self. By following this project, the person could have been released from social alienation in the sixties and today, from mental disorders. So if some antipsychiatric avatars pad postmodernity, what are the remaining alternatives between “ordinary madness” and a health project focused on an always more perfectible individual? [ABSTRACT FROM AUTHOR]

Copyright of Philological Research & Studies. Romance Languages Series / Studii şi Cercetări Filologice. Seria Limbi Romanice is the property of Philological Research & Studies. Romance Languages Series 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.)

Within the humoristic press that appeared in Spain at the beginning of the seventies, the El Papus journal (1973-1986) stands out for its taste for provocation and transgression of all social, political and cultural taboos of that time. It is precisely about this feature that the first part of this study will talk about – we shall see how the creation project, as well as the editorial board, the aesthetics and the topics of El Papus are defined by their destructive dimension. The analysis of the two main subjects of the review, politics and sex, will let us consider the review as a product of counter-culture. Finally, we will examine the impact of the review within the Spanish society of the democratic Transition.

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

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

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

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

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

Most studies on New Age spirituality remain overly descriptive and lack solid, empirically grounded historical-sociological explanations for its increasing popularity since the counter culture of the 1960s and 1970s. The authors therefore study the motivations of the ‘first generation’ spiritual seekers to turn to the New Age on the basis of 42 qualitative interviews with Dutch New Age teachers who grew up in the counter culture. The analysis demonstrates that they were motivated by discontentment about Christian churches and modern work organizations, especially in the field of social care. Due to the countercultural emphasis on individual liberty, the respondents experienced institutions as both ‘meaningless’ and ‘alienating’ and felt attracted to the promises of humanistic self-spirituality and holism. In the conclusion the authors speculate on how and why the young ‘second generation’ New Agers turns to spirituality nowadays and in what ways their motivations differ from those of the first generation. [ABSTRACT FROM PUBLISHER]

Although 'counterurbanisation' is very widely acknowledged and studied, certain elements of this migration-led phenomenon lack detailed scrutiny. These gaps need filling in order to appreciate the full flowering of the phenomenon in specific social-cultural, geographical and historical contexts; to enable comparison between these diverse expressions; and to examine their relationships with contemporaneous rural socio-cultural restructuring. One neglected element is counterurbanisation fairly directly informed by the late 1960s/1970s counterculture, a migration strand quickly stereotyped as the 'hippie' 'getting her/his head together in the countryside'. This paper uses the example of British singer-songwriter Vashti Bunyan, notably through the gestation and content of her Just Another Diamond Day album of 1970, to illustrate and examine countercultural counterurbanisation. With an additional nod to affective aspects of rurality, it also suggests something of what the lengthy rural journey Bunyan made from London to the Scottish islands, a key inspiration for the 1970 album, provided for her at a difficult, challenging, yet ultimately rewarding period in her life. Indeed, her experiences of (trying to engage with) the countryside on this journey are described as heterotopic, an association which leads the paper to suggest a more general heterotopic status for rurality within counterurbanisation. [ABSTRACT FROM AUTHOR]

At the end of the sixties, the Royal Canadian Mounted Police ( [ABSTRACT FROM AUTHOR]

This article is a close reading of the late philosopher Richard Rorty's critique of the 1960s and of several prominent New Left intellectuals in his book "Achieving Our Country." Rorty argues that the depth of animus generated by these American critiques of US foreign policy and society as well as by the turn toward identity-based politics was too severe and had the long-term effect of weakening and undermining progressive and left-wing political traditions within the United States. The article questions both Rorty's representation of the legacy of New Left intellectuals, as well as Rorty's own personal political positioning and identifications. Rather than providing a way forward, or reconciliation between differing progressive traditions in the United States, the article argues that Rorty continues in the tradition of sectarian debate and rejection of differing political positions. Thus, Rorty ends up reproducing the very sort of critique that he seeks to transcend and move beyond. [ABSTRACT FROM AUTHOR]

It is in the experiments in the arts, media, culture, politics and everyday practices developed by the counterculture in the 1960s that many nonrepresentational perspectives emerge. Aspects and examples of those experiments are reviewed with a particular focus on the construction of the countercultural subject and on some performative practices developed to shape those subjects, including psychedelics and underground cinema. During the 1960s nonrepresentational practices emerged and thrived in some enclaves of countercultural living, but struggled to develop in others. Although many of the counterculture's practices explored the nonrepresentational realm, they were still engaged in representational practices. The relative success of these practices in situ was closely tied to their representation. In 1960s Los Angeles they remained more represented than enacted and practised in the city. There is a danger in nonrepresentational work of rendering representation a stereotypical concept, one that is unchanging in its capacity to deaden, exclude and enframe. But representation as a practice is also subject to change. During the postwar period various representational practices, whose referent was a newly understood cosmos, attempted to evoke a range of sensory, experiential and subconscious responses in their consumers and performers, creating decidedly nonrepresentational representational moments. [ABSTRACT FROM AUTHOR]

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

Copyright of Cahiers Internationaux de Sociologie is the property of Presses Universitaires de France 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 Crítica de Ciências Sociais is the property of Centro de Estudos Sociais 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 Crítica de Ciências Sociais is the property of Centro de Estudos Sociais 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.)