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This article presents a qualitative analysis of photographs taken of Syrian refugees by the the Turkish photojournalist, Kemal Vural. There is an exceptional situation at the Turkish border. I will describe how these people cross the border, the dangers they face in walking through minefields, and the emotions that they experience then. The article concludes that refugees are portrayed as being displaced in transit through a flow that has not yet been defined. Finally, the analysis has been contextualized in the Syrian conflict and the problems this has entailed.

The article follows Max Weber's Comprehensive Sociology and uses the hermeneutic and iconological analysis sociological methods applied to plastic works (painting and sculpture), significant and representative of modern and late modern art. Starting from these theoretical and methodological bases, it pursues three specific objectives: to analyze the construction of space in plastic art, to verify how this theme has evolved in artistic practices from the first modernity to the second and to verify the way in which the complementary visual language the conceptual of contemporary sociological theory. In this regard, the analysis and interpretation of the eleven selected works reveals three important consequences of the modern influence on space, gradually emptied of meaning and replaced by non-places: its conversion into merchandise, its loss of solidity and stability and the confusion that occurs in it between reality and its representation. Consequently, the implicit content converges with the essential postulates of the sociologists who have approached the subject of space, although it goes further because the foray into the iconographic hermeneutics of these works puts an image to the conceptual theoretical discourses of the sociologists, in a way that visual language complements and enriches, with more emotional and sensitive nuances. Therefore, our discipline begins to overcome a traditional deficit, in that it moves from the essential rationality that structures its origin and turns towards a greater coupling of the emotional and sensitive social plane.

Since the premiere of the first version of King Kong in 1933, one of the most widely accepted theses in specialized literature is that the film has a racist content. However, recently some authors have qualified this discriminatory discourse or have even questioned it. In this regard, the research question is to what degree of depth is the film racist? and, the starting hypothesis, that the crisis of 29, its driving force, intensifies the imaginary fear of the whites of the black race, represented by the large dark-skinned gorilla. To confirm this hypothesis, a content analysis of the cinematographic images will be carried out, a heuristic-based interpretation based on a large interdisciplinary bibliography, and the film production will be framed in the social, economic, political, legal, cinematographic and cultural context, manifestly prejudiced and discriminatory toward citizens of color. Specifically, as will be seen, King Kong exhibits the fear of white workers, as they imaginary feel that black citizens take over their jobs in times of massive unemployment. In addition, the film echoes the ideology of the patriarchal, colonial and racial system that makes people of color invisible, that shows the desires and fears of a repressed sexuality, that relates it to death symbolized by blackness and that, in short, it creates an imaginary cinematographic universe that deepens and increases differentiation and social exclusion.

En este trabajo de investigación nos aproximamos al conocimiento de las enfermedades no diagnosticadas. Dichas enfermedades se enmarcan dentro de las llamadas enfermedades raras, debido a que no son frecuentes. Generan una serie de condicionantes en la vida de las personas afectadas y en sus relaciones sociales. Ello es fruto de la ruptura semiótica entre el código biológico y el social. Esta situación puede obligar a las personas con estas enfermedades a estar situadas fuera de la estructura social y ver reducido su capacidad para tomar decisiones. Por esta razón es necesario desarrollar puentes semióticos que conecten los códigos de los que hemos hablado. In this research work we approach to the knowledge of undiagnosed diseases. These diseases are framed within the so-called rare diseases, because they are not frequent. They generate a series of conditions in the lives of the affected people and in their social relationships. This is the result of the semiotic break between the biological and the social code. This situation can force people with these diseases to be out of the social structure, and they also can be reduced their capacity to make decisions. For this reason, it is necessary to develop semiotics bridges that connect the codes we have talked about. El presente trabajo de investigación se realiza en el marco del proyecto “Investigación, redes asistenciales y empoderamiento: respuestas sociales y científicas a las enfermedades raras en la Península Ibérica (1940-2015)” HAR2017-87318-P (Programa de I+D Excelencia), financiado por el Ministerio de Economía, Industria y Competitividad y dirigido por el profesor Rodríguez Sánchez.

Background: The coronavirus pandemic has generated social measures in order to contend virus expansion, and deaths. One of the most important political norms in the first wave was the domestic enclosure. This measure generates social, psychological and personal problems. Objective: The aim of this paper is to analyze the social impact of this home confinement through the study of journalistic images. Methods: We use a set of images selected previously according our epistemic necessities. Results: The results show that the fundamental elements of the current life were questioned. In fact, social space, and the own society had collapsed. Also, the enclosure of Spanish populations has been accompanied by the intensification of the individualism, but also has generated an increase of the ideal of communitas. Conclusions: Coronavirus enclosure has produced that the cities have emptied, and the houses and hospitals, were the last refuge of society. This phenomenon has generated that population has been accompanied by the paradox intensification of social relationships.

This article defines the Spanish family in the context of the “Mediterranean model” and the “individualization society”. The former is characterised by strong social interrelationships between family members and their emotional ties, while the latter is defined by the separateness of citizens and by institutionalising the basis of society in individuals rather than in the family. The work also describes how modern forms of love, both romantic and confluent, are institutionalized in this society, discussing if they coexist or not, how they exist, and which is the dominant form. Finally, it analyzes the degree of strength or fragility of the family institution and the affective relationships that sustain it. The work concludes that the Spanish family is balancing between the strong resistance to disappear as an institution and its eclipse, crisis, or complete end. This is because, although the Spanish family still retains a large part of its former functions, at the same time as divorce is on the increase and family members are decreasing, it is increasingly ephemeral and a plurality of family forms have emerged that have broken with the traditional dominant model of lifelong romantic marriage. Moreover, the Spanish family is also among the “familist” model and the individual, while the way of loving fluctuates between the traditional patriarchal and the democratic, individual, and communitary. Thus, the thesis I propose qualifies and questions the majority of theoretical works on love and the Spanish family, which argue that the family is inscribed in the “Mediterranean model”. As will be seen, the romantic relationships that have been institutionalised in the Spanish family are more paradoxical, insofar as they are still inscribed in that model, but they are rapidly approaching those of Northern Europe.

The starting hypothesis of this article is that the confinement suffered by the Spanish population during COVID-19 has brought at least three important consequences. The first, that the cities -Alicante, between them- and the Spanish towns were deserted, so that, in a certain sense, society was also emptied. The second, that the shelterdwellings expanded their traditional functions and assumed new ones, becoming “World-Homes”. And, third, that individualism and “communitas” have been reinforced, along with fear of Society, Nature and History. This starting hypothesis is confirmed, with nuances, by the content analysis of 14 photographs selected from hundreds, which the photojournalist, Rafa Arjones, from the newspaper Información, carried out during the confinement of Alicante (in phase 0, which lasted from March 14 to May 18, 2020). This city of 330,000 inhabitants is the capital of a dynamic province, located in the southeast of Spain. And, for this, we will use hermeneutics, concretized by linking three methods of image analysis: Panofsky's iconological analysis, K. Mannheim's documentary method and Visual Framing from Communication. In addition, these images will be contrasted with other 17 published in various media in Spain and the world, so that Alicante represents a local and, at the same time, global case of the impact of the pandemic on society., Covid-19; Photographs; Hermeneutics; Home-world; Emptied city

espanolEste articulo intenta precisar, en primer lugar, hasta que punto fueron originales las civilizaciones axiales producidas en torno al 500 antes de nuestra Era. Para ello, partiendo de una Sociologia comprensivaweberiana y de los metodos heuristico social e historico, se indagara en la etimologia del concepto originalidad, que resulta basico en la creatividad y que remite, dialecticamente, a los terminos aledanos de “origen” y “originario”. El primero supone, basicamente, un retorno al pasado y, el segundo una proyeccion hacia el futuro, algo que -como se vera- efectua la Era Axial, uno de los momentos creativos mas intensos de la historia de la humanidad. En segundo lugar, se tratara aqui la estrecha vinculacion existente entre el juego y la creacion de las utopias axiales y, con esta finalidad, se desarrollaran dos mapas conceptuales que delimiten los aspectos caracterizadores tanto de uno como de la otra. Despues, se interrelacionaran dichas caracteristicas a fin de encontrar las correspondencias de significado existente entre ellas y, finalmente, se concluira desvelando tres fundamentos de la Era Axial utiles para comprender algunos de los problemas contemporaneos. Se comprobara, asi, que la Era Axial es, ciertamente, original y que organiza una narrativa temporal muy creativa. EnglishThis article tries to specify, first of all, to what extent the axial civilizations produced around 500 before our era were original. To do this, starting from a comprehensive Weberian sociology and the social and historical heuristic methods, the etymology of the concept of originality will be investigated, which is basic in creativity and refers, dialectically, to the neighboring terms of “origin” and “original “The first is basically a return to the past and the second is a projection into the future, something that, as will be seen, is carried out by the Axial Age, one of the most intense creative moments in human history. Secondly, will be discussed here the close link between play and the creation of axial utopias and, with this purpose, will unfold two conceptual maps that delimit the characterizing aspects of both. Later, will interrelate these characteristics in order to find the correspondences of meaning between them. Thus, it will be verified that the Axial Age is, indeed, original and that it organizes a very creative temporal narrative. Finally, we will conclude by revealing three foundations of the Axial Age, useful for understanding some of the contemporary problems.

En el presente artículo se analiza la evolución de la definición del concepto de realidad social en Occidente desde la Ilustración hasta la actualidad. La idea fundamental que quiere destacar es que la visión de la realidad que posee la sociedad contemporánea es el fruto de un largo proceso en el que la cultura -la filosofía, el arte, la ciencia-, con su poder estructurante y desestructurante, ha tenido un decisivo papel. Para ello y tras señalar la importancia que el tema de la realidad tiene para la sociología, dedico una serie de apartados a cada una de las cuatro etapas en las que he dividido la Modernidad: la Ilustración -que está pegada a la realidad, pero que comienza a cuestionarla-, el Romanticismo -en el que la realidad ya no es un determinante de la sociedad-, la Modernidad -que ha convertido a la realidad en un paradigma tecnológico- y la Posmodernidad -que ha transformado a la realidad en una mercancía más que está en venta. Finalmente, concluyo indicando que el pensamiento, la estética y la ciencia, es decir, la cultura, ha entregado la realidad a un orden económico dominante. Along this article I'll try to analyze the evolution of the concept of «social reality» in Occidental world since Illustration to present time. The main topic is that the vision of reality that contemporary society shows is the result of a long process in which culture -i.e. philosophy, art, science- due to its structuring and unstructuring power, has developed a decisive role. To get this objective and after pointing out the importance of the theme of reality to sociology, I've dedicated a different par to each of the four stages in which I've divided modernity: Illustration -closed to reality but when it is first discussed-, Romanticism -society is not any more determinate by reality-, Modernity -reality has been turned into a technological paradigm-, and Post-modernity -reality has been transformed into merchandise for sale. My conclusion is that thought, aesthetic and science, in other words, culture, has given over reality to a dominant economical order.

Concepts such as «culture», «migrations», and «globalization» are closely interrelated due to their deep contradictory nature; however, in this work we will use «culture» as an element of cohesion and as an important key in the analysis and interpretation of migratory phenomena. Among the multiple contradictions of these phenomena in the context of a global society, we will point out specially four that we consider as central: globalization/ localization, individuals/community, identity/difference, and space/time. As it will be seen throughout this work, the former contradictions engender different kinds of dilemmas that reveal the limits as well as the real possibilities for a solution of migration problems. Moreover, it will also be argued that although space is a crucial factor, it is necessary to incorporate the temporal dimension as a key element to understand and articulate policies targeted towards migratory phenomena, since we face a «flow society» in which time prevails over space. That is why we should think of pure change in order to face the fact that change, not stability and order, dominates social and cultural dynamics, and, therefore, migrations., Los conceptos de «cultura», «migraciones» y «globalización» están relacionados debido a su profunda naturaleza contradictoria, si bien utilizamos aquí la cultura como el factor cohesionador y como una clave importante para hacer el análisis y la interpretación de los fenómenos migratorios. De las múltiples contradicciones que enmarcan a éstos en una sociedad global, vamos a detenernos en cuatro de ellas que consideramos de vital importancia: globalización-localización, individuo-comunidad, identidad-diferencia y espacio-tiempo. Como se comprobará, estas contradicciones generan toda una serie de dilemas que manifiestan tanto los límites y los obstáculos como las posibilidades de solucionar los asuntos migratorios. Además, también se comprobará que, aunque sigue vigente la dimensión espacial, se hace necesario incorporar la dimensión temporal como un factor clave para la comprensión y la articulación de políticas destinadas a los fenómenos migratorios, en tanto que nos encontramos en una sociedad del devenir en la que prevalece el tiempo sobre el espacio. Por eso, estamos obligados a pensar el cambio puro, a tomar conciencia de que ya no es la persecución de la estabilidad y del orden, sino el cambio el que domina las dinámicas sociales y culturales y, entre ellas, las migratorias.

The Article follows the trail of Max Weber’s comprehensive sociology and uses the hermeneutic and iconological analysis methods applied to significant contemporary plastic art works (painting and sculpture) which are representative of modern and late modern art. Starting from these theoretical and methodological bases, it pursues three specific objectives: (a) to analyze the construction of Time in plastic art, (b) to verify how this theme has evolved in artistic practices from the first modernity to the second and (c) to verify the way in which the complementary visual language the conceptual of contemporary sociological theory. In this regard, our paper provides evidence that the selected works prioritize a kind of temporality determined by the logic of capitalist industrial modernity. It likewise becomes obvious that time—focused on an accelerated and instantaneous omnipresent—lacks both an origin and a telos; it has neither a past nor a future and, in parallel, a gap has opened between the time of natural life and the artificial one, as well as between space and time, which is only transiently bridged at the imaginary level of art. Finally, the experience of time has been emptied, in such a way that the latter has lost some of its solidity and its sense of permanence, while the contingent, the fleeting and the ephemeral now occupy in its place.

After reviewing different sociologists who have highlighted the importance of originality for creativity, this article will analyse the conflict between generations and the social continuity-change alternation that generates and constitutes the engine of creativity. To do this, the etymology of the concept of ‘originality’ is investigated in order to find the basic terms with which it is associated. As will be seen, specifically, it does so with the words origin and originary, which merge in the creative process, establishing a temporary narrative in which the past, present and future are interrelated. This temporary narrative takes shape in modern society and culture – especially in art, science, democracy and capitalism, four of the most prominent creations of the period – with the first modernity distinguished by its evolution from childhood or youthful creativity towards decrepitude, and the second by decline. Finally, the article concludes that creativity is defined by originality because it builds a historical narrative, and because it can help eliminate the confusion of the present; that the childhood and youth of the creators are linked to generational conflict; and that the first modernity constitutes a childish or youthful period, while the second is defined by generalised physical, cultural and social decline., Tras reseñar diferentes sociólogos que han destacado la importancia de la originalidad para la creatividad, este artículo tiene como objetivo analizar el conflicto entre generaciones y la alternancia continuidad-cambio social que genera y que constituye el motor de la creatividad. Para ello, se indaga en la etimología del concepto de ‘originalidad’, con el fin de encontrar los términos básicos con los que se asocia. Como se verá, concretamente lo hace con las palabras origen y originario u originante, que se fusionan en el proceso creador, de manera que este establece una narrativa temporal en la que el pasado, el presente y el futuro quedan interrelacionados. Esta narrativa temporal se concreta en la sociedad y en la cultura modernas -especialmente, en el arte, la ciencia, la democracia y el capitalismo, cuatro de las creaciones más destacadas de la etapa-, diferenciándose la primera modernidad por su evolución desde la creatividad infantil o juvenil hacia la senil, y la segunda por la decadencia. Finalmente, el artículo concluye que la creatividad se define por la originalidad, porque construye una narración histórica y porque puede ayudar a eliminar la confusión del presente; que la infancia y la juventud de los creadores se vincula con el conflicto generacional; y que la primera modernidad constituye una etapa infantil o juvenil, mientras que la segunda se define por el declive generalizado físico, cultural y social.

En este artículo se analiza una selección de cartas escritas por migrantes y de imágenes fotográficas realizadas a ellos y recogidas en la obra Enciclopedia de los Migrantes, fruto de una investigación y de la creación artística financiado por la UE y elaborado simultáneamente en 8 ciudades de Francia, España, Portugal y Gibraltar. Las cartas están dirigidas a una persona que quedó en su tierra de procedencia y explican sus vivencias personales, sus emociones, sentimientos y percepciones en relación al proceso migratorio. Las imágenes fueron realizadas por un fotógrafo artístico bajo la premisa de que tanto el escenario como los objetos retratados fueran elegidos por la propia persona migrante. Los retratos realizados fueron concebidos como una clase de etnofotografia, en la que se analiza tanto las imágenes y sus contenidos (mediante el método de análisis iconológico), particularmente la concepción del cuerpo y de las emociones de los migrantes.This article analyzes a selection of letters written by migrants and photographic images made to them, and collected in the work Encyclopedia of Migrants. The work is the result of research funded by the EU and developed, simultaneously, in 8 cities in France, Spain, Portugal and Gibraltar. The letters are addressed to a person who stayed in their homeland and explain their personal experiences, their emotions, feelings and perceptions regarding the migratory process. The images were made by an artistic photographer under the premise that both the stage and the objects portrayed were chosen by the migrant himself. The portraits were conceived as a kind of ethnophotography in which the images and their contents are analyzed simultaneously (through the method of iconological analysis), particularly the conception of the body and the emotions of the migrants.

A partir de las aportaciones de H. Joas y A. Reckwitz, este artículo trata de perfilar una sociogénesis del concepto de creatividad, asociándola más al contexto general social y cultural -el proceso de civilización moderna- en el que brota que a la acción creativa. Se trata, en concreto, de describir y analizar las contribuciones de la Sociología sobre la creatividad en relación con el proceso de civilización moderna y con las ambivalencias que éste presenta de manera inherente. Particularmente, las que contraponen lo individual con lo colectivo, el espacio con el tiempo y el orden con la crisis. Al respecto, el artículo llega a dos conclusiones finales: la primera, que la creatividad se muestra como ambigua y contradictoria, es decir, que ha heredado las ambivalencias de la Modernidad; y, la segunda, que la creatividad sufre las turbulencias y las indeterminaciones propias de la etapa de transición y de crisis en la que vivimos. Así, la creatividad constituye un exponente más de las contradicciones de la sociedad moderna en la que se desarrolla, funciona fundamentalmente como una construcción social y cultural. Es decir, que está colaborando más en la edificación de lo que somos y menos de lo que nos gustaría ser. From the contributions of H. Joas and A. Reckwitz, this article tries to outline a sociogenesis of the concept of creativity, associating it more to the general social and cultural context -the process of modern civilization- in which it springs up than to creative action. In particular, it is a question of describing and analyzing the contributions of Sociology to creativity in relation to the process of modern civilization and the ambivalences inherent in it. Particularly, those that contrast the individual with the collective, space with time and order with the crisis. In this respect, the article reaches two final conclusions: first, that creativity is shown as ambiguous and contradictory, that is, it has inherited the ambivalences of Modernity; and, secondly, that creativity undergoes the turbulences and indeterminations proper to the stage of transition and crisis in which we live. Creativity, then, is one more exponent of the contradictions of the modern society in which it is developed, functioning fundamentally as a social and cultural construction. That is, it is collaborating more in building what we are and less than we would like to be.

A partir de la teoría de la acción creativa de Joas, que presenta un carácter novedoso y que rescata la noción de creatividad como un tema esencial de la teoría sociológica, este artículo se propone como objetivo analizar si el sistema económico global ha comercializado y desustancializado la creatividad, vaciándola de sentido y colaborando, de este modo, en la profundización de la crisis de las democracias representativas y de sus valores. Para ello, previamente, se definirán e interrelacionarán los conceptos de “crisis”, “democracia representativa” y “creatividad”. Se comprobará que la economía creativa ha generado nuevas desigualdades entre ricos y pobres y entre los Estados creativos y los no creativos, agrandado la brecha entre el mercado y el Estado, entre la política y la economía, entre el capitalismo y la democracia representativa. E incluso ha activado las contradicciones propias del capitalismo, esto es, ha profundizado en la crisis, la decadencia y el colapso de la democracia. En este sentido, la creatividad no puede verse hoy únicamente como una tabla de salvación de las múltiples dificultades e incertidumbres que asolan a las democracias representativas. Es también, y conviene no olvidarlo, una fuente de intensificación de esos mismos problemas, al tiempo que generadora de otros nuevos, no previstos. Based on Joas' creative action theory, which presents a novel character and rescues the notion of creativity as an essential theme of sociological theory, this article aims to analyze whether the global economic system has commercialized and de-tradized the creativity, emptying it of meaning and collaborating, in this way, in the deepening of the crisis of representative democracies and their values. To do so previously, they will be defined and interrelate the concepts of "crisis", "representative democracy" and "creativity". It will be seen that the creative economy has created new inequalities between rich and poor and between creative and non-creative states, widening the gap between market and state, between politics and economy, between capitalism and representative democracy. And it has even activated the contradictions of capitalism, that is, it has deepened the crisis, the decay and the collapse of democracy. In this sense, creativity can not today be seen only as a lifeline for the many difficulties and uncertainties that plague representative democracies. It is also, and should not forget, a source of intensification of these same problems, while generating new ones, not foreseen.

espanolLa primera proyeccion de la pelicula King Kong, en 1933, causo en los miles de espectadores un extraordinario efecto, pues les provoco una reaccion situada entre el terror y la fascinacion. En efecto, el exito de la pelicula fue fulminante debido a la calidad del filme, a los espectaculares efectos especiales y a la profunda e intensa conexion emocional entre el imaginario de los espectadores del periodo y la tematica de la cinta. En este sentido, tal vinculo se halla en la ambivalente y dialectica interrelacion que se produce entre esta primera version de King Kong, la crisis del 29 –y los miedos que esta genera– y el imaginario norteamericano de los anos 30. Pero, como se comprobara en el articulo, en el imaginario del filme se entremezclan, contaminandose mutuamente, entre otros, la realidad y la ficcion, la verdad y la mentira, la seguridad y el peligro, el consciente y el subconsciente y la racionalidad y las emociones. Asi, se concluira que el imaginario norteamericano de los anos treinta refleja no solamente la crisis economica del 29, sino tambien representa su sueno, sus temores y esperanzas, sus recuerdos y olvidos, asi como oblitera su pasado, revigoriza su presente y ansia un porvenir mejor. EnglishIn 1933, the screening of King Kong caused an extraordinary effect on thousands of viewers, both fascination and terror. Indeed, the success of the film was unprecedented at that time due to the overall quality, the spectacular special effects, and the strongly intense emotional connection felt by the viewers who were captivated by the imaginary and the theme of the film. In this sense, their connection is found in the ambivalent and dialectical interrelation that takes place between this first version of King Kong, the crisis of 1929 -and the fears it stirred- and the American imaginary of the 1930s. But, as will be demonstrated in the article, in the imaginary of the film reality and fiction, truth and lies, security and danger, conscious and subconscious, rationality and emotions all merge, mutually contaminating each other. Thus, it can be concluded that the American imaginary of the 1930s reflects, and reflects not, the financial crisis of 1929, for it represents this crisis, their dreams, fears and hopes, their memories and omissions while overriding the past, reinvigorating the present and the hope for a better tomorrow portuguesQuando o filme de King Kong foi exibido em 1933 ocasionou um extraordinario efeito em milhares de espetadores, provocando uma reacao situada entre o terror e o fascinio. Com efeito, o sucesso do filme foi fulminante devido a sua qualidade, aos espetaculares efeitos especiais e a profunda e intensa conexao emocional entre o imaginario dos espetadores do periodo e o tema do filme. Neste sentido, tal ligacao e na ambivalente e dialetica inter-relacao produzida entre esta primeira versao de King Kong, a crise do 29 –e os medos que ela gera– e o imaginario norte-americano dos anos 30. Mas, como verificaremos no artigo, no imaginario do filme se misturam, contaminando-se mutuamente, entre outros, realidade e ficcao, verdade e mentira, seguranca e perigo, consciente e subconsciente e a racionalidade e as emocoes. Assim, conclui-se que o imaginario norte-americano dos anos trinta reflete e nao a crise economica do 29, e que, simultaneamente, essa crise representa seu sonho, medos e esperancas, lembrancas e esquecimentos, bem como oblitera seu passado, revigora seu presente e anseia por um futuro melhor

The sociological approach to the concept of creativity lacks some accuracy, since it is addressed from an a priori perspective and admitted without reflecting on what it means socially and culturally. In this connection, the present article tries to provide a specific description of the term from its genealogy and on the basis of the socio-cultural-historical context where it arises. More precisely, it deals with the idea conveyed by western myths, the narrative about the identification of the instituting generatrix forces or the procreative divinities that lie behind the birth of the cosmos, of the world, of society, of the earth, of gods, of humans, of animals, and of plants. Thus, from an interpretative examination of the myths about Mother Goddess, those about Biblical Genesis, as well as of Greek creation myths, an attempt will be made to draw a conceptual map that delimits the most defining features of creativity (1). The ultimate goal is to check whether such characters have survived to the present day (2).

En este artículo, la arquitectura teatral de la Grecia Antigua va a ser considerada como un cuerpo-signo que significa, construido social, cultural y políticamente, como un reflejo y creador del orden social, como un cuerpo que es civilización y, por consiguiente, como un microcosmos de la concepción del mundo de los griegos antiguos. Y es que la arquitectura teatral es vista por los helenos como un cuerpo articulador, delimitado, diferenciado y separado y con entradas o salidas que comunican sus funciones interiores con las exteriores, por lo que, a pesar de su autonomía, no está aislado en sí mismo, sino que constituye una auténtica red de relaciones entre el universo teatral, la polis y el mundo. In this article, the theatrical architecture of Ancient Greece is to be considered as a body-sign that means, socially, culturally and politically constructed, as a reflection and creator of the social order, as a body that is civilization and, consequently, as a microcosm of the worldview of the ancient Greeks. And it is that the theatrical architecture is seen by the Hellenes as an articulating body, delimited, differentiated and separated and with entrances or exits that communicate their interior functions with the external ones, reason why, in spite of its autonomy, it is not isolated in itself but it constitutes a true network of relations between the theatrical universe, the polis and the world.

La hipotesis de partida del presente articulo es que el cine de horror florece en los periodos de crisis social, los cuales a su vez intensifican el miedo al Otro. La pelicula King Kong (1933) constituye un ejemplo paradigmatico porque, al albur de la gigantesca crisis economica del 29, presenta a un monstruo que formaliza las mas importantes representaciones imaginarias del miedo al Otro que se forjaron en la sociedad norteamericana del momento. Desde esta perspectiva, aqui se pretende analizar sociologicamente hasta que punto el crack del 29 esta detras del film, que tipos de miedo muestra y como se formaliza en el el terror al Otro. Al respecto, este trabajo concita dos reflexiones: King-Kong anuncia en 1933 la sociedad del riesgo que analizan, en la tardo-modernidad, A. Giddens y U. Beck y el miedo posee una connatural circularidad, presente en el tema y en la estructura narrativa del film. Finalmente, el articulo trata de responder a las preguntas de como salir de esta circularidad y como evitar el acostumbrado rechazo al Otro. The hypothesis of this paper is that the horror genre flourishes in times of social crisis, which at the same time intensifies the fear of the Other. The film King Kong (1933) is a paradigmatic example because, at the mercy of the huge economic crisis of 29, introduces a monster that formalizes the most important imaginary representations of fear of the Other that were forged in American society at the time. From this perspective, it is sociologically analyze to what extent 29 crack is behind King Kong, what kinds of fear shows the film and how terror to the Other is formalized in the film. This work involves two considerations: King-Kong presages the risk society that analyze, in late-modernity, A. Giddens and U. Beck; and fear has an inherent circularity present in the subject and narrative structure of the film. Finally, the article attempts to answer the questions of how to get out of this circularity and how to avoid the usual rejection to Other.

Pretendemos mostrar qué tipo de representación social del inmigrante y/o la inmigración proporciona la prensa española y comprobar hasta qué punto ésta puede construir y alimentar imaginarios que hagan muy difícil la práctica de la interculturalidad. Queremos analizar el grado en el que nuestras ciudades globales se rigen aún por coordenadas locales y territoriales o si, por el contrario, la llegada de inmigrantes está trayendo consigo un nuevo concepto de ciudadano y de identidad cultural. Nos interesa, en definitiva, explorar qué modelo de identidad transmiten y consolidan los medios de comunicación y si éste sirve para fomentar el diálogo entre culturas o si, por el contrario, está contribuyendo a perpetuar la brecha entre el “nosotros” y el “ellos”. The aim of this work is to show how immigrants and immigration are represented in the Spanish press and to try to demonstrate the way news can create and feed social false conceptions that make the practice of interculturality very difficult. We want to analyze the degree to which localities and territories still control our global cities and in what manner the arrival of immigrants carries with it a new concept of citizen and identity. Finally, we are interested in exploring the identity model that the mass media communicates and consolidates and if this serves to promote dialogue between cultures or, on the contrary, is perpetuating the gap between "us" and "them."

El objetivo del presente artículo es efectuar una aproximación sociológica a los temas de los que se han ocupado los sociólogos más importantes en su mirada al universo heleno. Para ello, se establecerá una relación entre los debates y preocupaciones de la Teoría Sociológica y las reflexiones de multitud de helenistas con el fin de realizar un inventario de esa temática. Se pretende, asimismo, encontrar el origen griego de conceptos como el ser humano, la sociedad, la ciudad o la democracia contemporáneas para obtener, del saber social heleno, alternativas a algunos de nuestros problemas más apremiantes. The aim of this article is to make a sociological approach to the issues that have occupied the most important sociologists in her gaze to Greek universe. To do this, we will establish a link between debates and concerns of Sociological Theory and the reflections of many Hellenists in order to make an inventory of this thematic. Likewise, we`ll intend to find the Greek origin of concepts like human beings, society, city or contemporary democracy in order to obtain alternatives to some of our most pressing social problems from Hellenic knowledge.

The article tries to understand the evolution that sociocultural construction of the concept of time from a “solid” to a “liquid” as formulated by Z. Bauman has experienced in Western society. It tries also to understand what the characteristics that define this kind of time are and what were the resulting socio-cultural impacts have occurred in the postmodern society. Finally, we present here the way in which the progress on the definition of time is linked to the development of the loss of certainties and the establishment of a culture of uncertainty. We also propose how some aspects of social life exemplify the current culture.

Vida y muerte, individuo y comunidad se consideraron en la Grecia del siglo V a. C. como verdades antagónicas que no se excluyen entre sí. En la medida en que el pensamiento trágico se alimenta de verdades antagónicas, la tragecia griega ofrece una completa información sociológica sobre la evolución de aquellas dualidades. Durante el período clásico, la cultura se desarrolló muy cerca de la vida cotidiana y fue la idea de la muerte la que prevaleció sobre el deseo de inmortalidad. Sin embargo, el dominio de la cohesión social y de la fidelidad al estado-ciudad amortiguaron la presencia de la muerte y fue la vida la que triunfó sobre ella. Por el contrario, a finales de estaépoca, la cultura se evadió de la vida cotidiana y entonces fue el deseo de inmortalidad el que se acrecentó. Al mismo tiempo, se descompuso la sociedad y el individualismo le ganó terreno al espíritu comunitario. La muerte, así, vencía a la vida y, con ella, a la misma tragedia.

Partiendo de los objetivos propuestos, el artículo pone de manifiesto la profunda crisis estructural en la que ha entrado el trabajo en la Posmodernidad. Esto ha supuesto, la pérdida de su seguridad en el contexto del cuestionamiento de la prosperidad de la economía, del Estado de Bienestar, del propio Estado y de la democracia. Cierto, el trabajo se presenta hoy con riesgo, precario, inseguro, incierto, desespacializado, fragmentado, acelerado, flexible, desregulado, informalizado, impactado por las nuevas tecnologías, “brasileñizado”, jerarquizado, desigual, individualizado y con el carácter corroído del trabajador. De esta forma, el trabajo se desvaloriza, se convierte en ilegible y pierde su sentido. Además, si se tiene en cuenta que los remedios puestos encima de la mesa en Occidente son claramente insuficientes y poco creativos, parece que nos encontremos ante el colapso o el final de una etapa, del trabajo, del propio capitalismo y del Estado social-liberal-democrático. Based on proposed objectives, this article shows the deep structural crisis in which work is involved in Postmodernity. That has meant the loose of security in the context of the weakness of the economic prosperity, the Welfare State, the State itself and the Democracy. Certainly, nowadays work appears as risky, precarious, insecure, uncertain, without a defined space, fragmented, accelerated, flexible, unregulated, informal, hit by new technologies, “brasilianizated”, hierarchical, unequal, individualized and the reason of the corroded character of the worker. Thus work gets devaluated, becomes illegible and lost its sense. Moreover, if we consider that the solutions put on the table by Occident are clearly insufficient and uncreative, it seems that we are facing the collapse or the end of an era, of the work, of the capitalism itself, and even the social-liberal-democratic State.