Uno de los cambios más llamativos de las sociedades contemporáneas remite a la noción de creatividad. Si hasta fechas recientes esta se encarnaba en una minoría social especialmente dotada para engendrar la novedad en el mundo del arte, hoy su radio de acción se ha expandido hasta alcanzar los lugares más recónditos de la vida social. De algún modo, se ha normalizado y se ha hecho norma. Su presencia puebla y define los contornos de la vida cotidiana. No solo en el arte, como en el curso de la modernidad, también en la política, la economía, la ciencia, la tecnología, el deporte, etc., la creatividad se ha convertido en la sociedad tardomoderna en el nuevo destino social. Los individuos no solo quieren, también deben ser creadores, ajustarse lo máximo posible a la figura del artista de principios del siglo pasado que expresaba su vida en la obra de arte. Precisamente esta reubicación de la creatividad como valor social hegemónico obliga a las ciencias sociales a repensar definiciones e interpretaciones heredadas que no se reconocen en la situación actual. La sociología contemporánea rastrea el papel de una creatividad que, frente a la dimensión minoritaria y transgresora de antaño, hoy se ha democratizado y rutinizado.

This book defends that the pursuit of originality constitutes one of the most important characteristics of creativity, but that originality refers, etymologically, to both origin and originary. Hence, the book is structured into two parts, dedicated, respectively, to the creative categories of origin and the creative categories of originary. Within the former are creation myths, games – the origin of all cultural activity, the dialectic chaos-order, axial civilizations – the germ of our time, and the struggle between generations – a factor of social transformation, and, within the second, creative capitalism, creative work in the context of the global economy of risk and uncertainty, and representative democracy. However, these two concepts are not isolated, but deeply interrelated, in a way that explains how creative originality builds a temporal narrative. It has been dislocated in late modernity and, with it, creativity has been broken.

The widespread opinion is that Northrop Frye’s influence reached its zenith in the 1960s and 1970s, after which point he became obsolete, his work buried in obscurity. This almost universal opinion is summed up in Terry Eagleton’s 1983 rhetorical question, "Who now reads Frye?" In The Reception of Northrop Frye, Robert D. Denham catalogues what has been written about Frye – books, articles, translations, dissertations and theses, and reviews – in order to demonstrate that the attention Frye’s work has received from the beginning has progressed at a geomantic rate. Denham also explores what we can discover once we have a fairly complete record of Frye’s reception in front of us – such as Hayden White’s theory of emplotments applied to historical writing and Byron Almén’s theory of musical narrative. The sheer quantity of what has been written about Frye reveals that the only valid response to Eagleton’s rhetorical question is "a very large and growing number," the growth being not incremental but exponential.

This book analyzes the culture wars as those struggles for the monopoly of the legitimate representation of the world in the normative elucidation of controversial issues linked to values. Public culture in this context would consist of a set of complex classificatory systems of symbols and meanings that constitute a semantic field in permanent dynamic tension. In this work we analyze a whole series of lines of cultural conflict such as the social and semantic genesis of the different forms of “culture war” from the thesis of “modern polytheism” pointed out by Max Weber at the beginning of the 20th century to the national culture wars and the current global culture wars; the social production of truth and the clash with the epistemological tribalisms; the struggles between the new warrior gods, daimons and demons that emerge in modern societies; the struggles of fusion and fission on the symbolic battlefield of “Europe”; the struggles between “pioneers” and “gatekeepers” to define the limits of human nature; the struggles between utopias and dystopias that colonize the present future. This book will be of great help to anybody looking for key interpretations on the nature and structure of modern conflicts in contemporary societies.

Images: A Reader provides a key resource for students, academics, practitioners and other readers engaged in the critical, theoretical and practical study of images. The Reader is concerned with the notion of the 'image' in all its theoretical, critical and practical contexts, uses and history. The Reader provides a map of the differences and similarities between the various disciplinary approaches to images, breaking the ground for a new interdisciplinary study of images, in the arts and humanities and beyond. Images: A Reader is divided into three parts: • Historical and Philosophical Precedents sets the background for contemporary debates about images. • Theories of Images provides key texts of the major approaches through which images are conceptualised. • Image Culture introduces some of the more recent debates about images and today's visual environment. The selection of over 80 key readings, across the domains of philosophy, art, literature, science, critical theory and cultural studies tells the story of images through intellectual history from the Bible to the present. By including both well-established writings and more recent, innovative research, the Reader outlines crucial developments in contemporary discourses about images.

The first work to propose a comprehensive musicological framework to study sound-based music, a rapidly developing body of work that includes electroacoustic art music, turntable composition, and acoustic and digital sound installations. The art of sound organization, also known as electroacoustic music, uses sounds not available to traditional music making, including prerecorded, synthesized, and processed sounds. The body of work of such sound-based music (which includes electroacoustic art music, turntable composition, computer games, and acoustic and digital sound installations) has developed more rapidly than its musicology. Understanding the Art of Sound Organization proposes the first general foundational framework for the study of the art of sound organization, defining terms, discussing relevant forms of music, categorizing works, and setting sound-based music in interdisciplinary contexts. Leigh Landy's goal in this book is not only to create a theoretical framework but also to make the work more accessible—to suggest a way to understand sound-based music, to give a listener what he terms “something to hold on to,” for example, by connecting elements in a work to everyday experience. Landy considers the difficulties of categorizing works and discusses such types of works as sonic art and electroacoustic music, pointing out where they overlap and how they are distinctive. He proposes a “sound-based music paradigm” that transcends such traditional categories as art and pop music. Landy defines patterns that suggest a general framework and places the studies of sound-based music into interdisciplinary contexts, from acoustics to semiotics, proposing a holistic research approach that considers the interconnectedness of a given work's history, theory, technological aspects, and social impact. The author's ElectroAcoustic Resource Site (EARS, www.ears.dmu.ac.uk), the architecture of which parallels this book's structure, offers updated bibliographic resource abstracts and related information.