Why some football referees engage in match-fixing? A sociological explanation of the influence of social structures

2021 ◽  
pp. 1-19
Author(s):  
Marcelo Moriconi ◽  
César De Cima
Keyword(s):  
Social Structures ◽  
Sociological Explanation

Cognitive fluidity and climate change

2015 ◽  
Vol 18 (3) ◽  
pp. 236-256 ◽  
Author(s):  
Piet Strydom
Keyword(s):  
Climate Change ◽  
Human Mind ◽  
Modern Human ◽  
Social Structures ◽  
Form Of Life ◽  
Sociological Approach ◽  
Social Forms ◽  
The Social ◽  
Ultimate Question ◽  
Sociological Explanation

This article seeks to enrich the social-theoretical and sociological approach to climate change by arguing in favour of a weak naturalistic ontology beyond the usually presupposed methodological sociologism or culturalism. Accordingly, attention is drawn to the elementary social forms that mediate between nature and the sociocultural form of life and thus figure as the central object of a critical sociological explanation of impediments retarding or preventing a transition to a sustainable global society. The argument is illustrated by a comparison of the current situation of climate change to a similar situation some 10,000 years ago which conditioned the transition from hunting-gathering to farming. The crucial factor in the prehistoric transition had been the newly acquired cognitive fluidity, which not only became the defining feature of the modern human mind, but is also foundational of the corresponding social form of life. The cognitively fluid mind made possible new generative practices and the imagination of counterfactuals possessing an incursive force that is capable of transforming existing practices and social structures. The ultimate question, then, is twofold: whether there is enough potential left in the cognitively fluid mind for its societal significance to be activated to the benefit of a transformation of the current recalcitrant social formation; and whether we today are able and willing to recognize such potential and corresponding realizable possibilities upon which to act.

«Roses» and «thorns» of the international division of labor: dialogue with history and modernity

2020 ◽  
Vol 19 (3) ◽  
pp. 209-221
Author(s):  
E. A. Ponuzhdaev ◽  
Tatiana A. Shpilkina
Keyword(s):  
Division Of Labor ◽  
Social Structures ◽  
The European Union ◽  
International Division ◽  
National Division ◽  
World Markets ◽  
European Union Countries ◽  
Key Indicators ◽  
Trade Wars ◽  
International Division Of Labor

The authors considered historical and topical issues of the international division of labor (MRT). The analysis and parallel of MRI data by ancient scientists, researchers, scientists and experts of the XVIII, XIX, and XXI centuries. On the example of the European Union countries Greece, Spain and Portugal, the analysis of GDP, wages and unemployment as key indicators that characterize the economy of countries is carried out. The historical «cycle» of social structures is given and the dynamics of the ratio of the upper (B), middle (C) and lower (H) classes is shown. It shows the current problems of world markets, taking into account sanctions, trade wars and the consequences of the pandemic. Prospects for the national division of labor (NDT) are defined.

On Haslanger’s Meta-Metaphysics: Social Structures and Metaphysical Deflationism

Disputatio ◽  
2018 ◽  
Vol 10 (50) ◽  
pp. 201-216
Author(s):  
E. Díaz-León
Keyword(s):  
Social Structures ◽  
Gender And Race ◽  
Area Of Concern ◽  
Analytic Metaphysics

Abstract The metaphysics of gender and race is a growing area of concern in contemporary analytic metaphysics, with many different views about the nature of gender and race being submitted and discussed. But what are these debates about? What questions are these accounts trying to answer? And is there real disagreement between advocates of differ- ent views about race or gender? If so, what are they really disagreeing about? In this paper I want to develop a view about what the debates in the metaphysics of gender and race are about, namely, a version of metaphysical deflationism, according to which these debates are about how we actually use or should use the terms ‘gender’ and ‘race’ (and other related terms), where moral and political considerations play a central role. I will also argue that my version of the view can overcome some recent and powerful objections to metaphysical deflationism of- fered by Elizabeth Barnes (2014, 2017).

Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household in Upstairs Downstairs in the 1970s and 2010s

2020 ◽  
Author(s):  
William Abbiss
Keyword(s):  
Final Section ◽  
Social Structures ◽  
The Third ◽  
The Past ◽  
War Narrative ◽  
Critical History ◽  
The Social ◽  
Fourth Series ◽  
History Of ◽  
Multiple Episodes

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.

Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household in Upstairs Downstairs in the 1970s and 2010s

2020 ◽  
Author(s):  
William Abbiss
Keyword(s):  
Final Section ◽  
Social Structures ◽  
The Third ◽  
The Past ◽  
War Narrative ◽  
Critical History ◽  
The Social ◽  
Fourth Series ◽  
History Of ◽  
Multiple Episodes

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.

Presence in Absence

2011 ◽  
Vol 56 (2) ◽  
pp. 79-100
Author(s):  
Rachel Esner
Keyword(s):  
19Th Century ◽  
Social Structures ◽  
Artistic Creativity ◽  
Oder Eine ◽  
Exhibition Space ◽  
Working Space ◽  
Romantic Era ◽  
Sozialer Raum ◽  
The 19Th Century ◽  
Artistic Self

Seit der Epoche der Romantik bringen viele der Diskurse, die künstlerische Kreativität betreffen, den Künstler und seinen Arbeitsraum zusammen: Die Werkstatt wird als ein Spiegel des Künstlers und seines Werks angesehen, als ein Heiligtum, ein sozialer Raum oder eine Ausstellungsfläche. Ein populärer bildlicher Topos der Zeit war die Darstellung des leeren Ateliers. Der vorliegende Beitrag versteht das Bild des leeren Ateliers im 19. Jahrhundert als ein Selbstporträt des Künstlers. Er untersucht, wie die Darstellung des Raums und seiner Objekte dem Gemälde die Präsenz des Künstlers einschreiben und sein bzw. ihr künstlerisches  Selbstverständnis innerhalb der sich verändernden künstlerischen und sozialen Strukturen der Epoche wiedergeben.<br><br>From the Romantic era onward, many of the discourses surrounding artistic creativity have merged the artist and his working space: the place of work is viewed as the mirror of the man and his oeuvre, a sanctuary, a social or an exhibition space. A popular topos in this context was the view of the empty studio. This paper explores the 19th-century empty studio image as a self-portrait of the artist. It examines how the depictions of the space and its objects work to inscribe the artist’s presence, and to express his or her  artistic self-conception and identity within the changing artistic-social structures of the period.

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