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This book argues that the mainstream definitions of corruption, and the key expectations they embed concerning the relationship between corruption, democracy, and the process of democratization, require reexamination. Even critics, who did not take the stable institutions and legal clarity of veteran democracies as a cure-all, assumed that the process of widening the influence on government decision making and implementation allows non-elites to defend their interests, define the acceptable sources and uses of wealth, and demand government accountability. This had proved correct, especially insofar as ‘petty corruption’ is involved. But the assumption that corruption necessarily involves the evasion of democratic principles and a ‘market approach’ in which the corrupt seek to maximize profit do not exhaust the possible incentives for corruption, the types of behaviors involved (for obvious reasons, the tendency in the literature is to focus on bribery), or the range of situations that ‘permit’ corruption in democracies. In the effort to identify some of the problems that require recognition, and to offer a more exhaustive alternative, the chapters in this book focus on corruption in democratic settings (including NGOs and the United Nations which were largely so far ignored), while focusing mainly on behaviors other than bribery.
Tracy Gaynor Harwood, De Montfort University
Since its birth in 1996, machinima (machine-cinema) has grown into a truly global phenomenon – and its latest transformation is evident in the Lets Play community. Machinima is the first digital culture to have emerged from the internet into a mainstream creative genre and it has taken shape as an important fan culture. Its impact has been felt across many aspects of popular culture and its influence can be found in contexts such as the arts and cinema, performance, creative technologies and social media, politics and citizenship. This book traces its history and impacts through a selection of the most culturally significant works. It firstly sets out to describe the key films, provides an overview of the creative processes and interviews with filmmakers and contributors involved in their development. It then traces their release and impact among fans, users and appropriators, supported with material and interviews. This important new work focuses on the specific disruptive socio-cultural impacts of key works identified by the community and Harwood research over a period of 10 years – from film and filmmaking to digital arts, practice and theory. The book will be of interest to machinima researchers and practitioners, including game culture, media theorists and digital artists, and those interested in how creative technologies influences communities of practice over time.
Cosmopolitan Ambassadors: Touring Exhibitions, Cultural Diplomacy and the Intercultural Museum critically examines international exhibitions, looking at both theoretical and practical implications. How are museums working internationally through exhibitions? What motivates this work? What are the benefits and challenges? What factors contribute to success? What impact does this work have for audiences and other stakeholders? What contributions are they making to cultural diplomacy, intercultural dialogue and understanding? In seeking answers to these questions, the book first provides an overview of the current state of knowledge about international touring exhibitions: their history, current practice, debates and issues. It then proposes an interdisciplinary analytical framework, encompassing museum studies, visitor studies, cultural diplomacy and international relations, intercultural communication/education, and theories of cosmopolitanism. Having laid the theoretical groundwork, it presents a comprehensive empirical analysis of an exhibition exchange involving two exhibitions that crossed five countries and three continents, connecting six high profile cultural institutions and spanning almost a decade from initial conception to completion. A detailed comparison of both the intercultural production of touring exhibitions by museum partnerships and by the interpretive acts and meaning-making of visitors, reveals the many complexities, challenges, tensions and rewards of international museum exhibitions and their intersection with cultural diplomacy. Key themes include the realities of international collaboration, its purposes, processes and challenges, including communication and relationship building; the politics of cultural (self-)representation and Indigenous museology; implications for exhibition design, interpretation, and marketing; intercultural competency and museum practice; audience reception and meaning-making; cultural diplomacy in practice and perceptions of its value. This first-ever detailed, empirically-grounded, theoretical analysis provides the basis of a critical theory of international touring exhibitions and guidelines for practice, including recommendations for successful international museum partnerships and exhibitions aimed at facilitating intercultural understanding for audiences and enhancing intercultural practices among museum professionals, and maximizing the potential contribution cultural diplomacy.
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$58 £43 €49
This volume constitutes an attempt at bringing together philosophies of time—or more precisely, philosophies on time and, in a concomitant way, history—emerging from Christianity’s and Islam’s intellectual histories. Starting from the Neoplatonic heritage and the voice of classical philosophy, the volume enters the Byzantine and Arabic intellectual worlds up to Ibn Al-Arabi’s times. A conscious choice in this volume is not to engage with, perhaps, the most prominent figures of Christian and Arabic philosophy, i.e., Augustine on the one hand and Avicenna/Ibn Sina on the other, precisely because these have attracted so much attention due to their prominence in their respective traditions—and beyond. In a certain way, Maximus the Confessor and Ibn Al-Arabi—together with Al-Fārābi—emerge as alternative representatives of their two traditions in this volume, offering two axes for this endeavor. The synthesis of those approaches on time and history, their comparison rather than their mere co-existence, is left to the reader’s critical inquiry and philosophical investigation.
Charles Quist-Adade, Kwantlen Polytechnic University, Canada
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$60 £42 €48
This book is a survey of Symbolic Interaction. In thirteen short chapters, it traces the history, the social philosophical roots, the founders, “movers and shakers” and evolution of the theory. Symbolic Interactionism: The Basics takes the reader along the exciting, but tortuous journey of the theory and explores both the meta-theoretical and mini-theoretical roots and branches of the theory. Symbolic interactionism or sociological social psychology traces its roots to the works of United States sociologists George Hebert Mead, Charles Horton Cooley, and Herbert Blumer, and a Canadian sociologist, Erving Goffman; Other influences are Harold Garfinkel’s Ethnomethodology and Austrian-American Alfred Schutz’s study of Phenomenology. Symbolic Interactionism: Basics explores the philosophical sources of symbolic interactionism, including pragmatism, social behaviorism, and neo-Hegelianism. The intellectual origins of symbolic interactions can be attributed to the works of William James, George Simmel, John Dewey, Max Weber, and George Herbert Mead. Mead is believed to be the founder of the theory, although he did not publish any academic work on the paradigm. The book highlights the works of the intellectual heirs of symbolic interactionism— Herbert Blumer, Mead’s former student, who was instrumental in publishing the lectures his former professor posthumously with the title Symbolic Interactionism, Erving Goffman and Robert Park.