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ABSTRACTA significant body of literature focuses on learning mediated by technology (eLearning). We conceptually develop and empirically test a model of trust antecedents with online undergraduate students. Contributing to the student eLearning success literature, we posit that eLearning students require the support of technologies and trust in those technologies to feel satisfied with their learning and perceive that they will have a positive learning outcome. This study considers the effect of culture by comparing the trust and satisfaction of American and Latin American students in eLearning technologies. By conducting this study in two countries that differ in terms of national culture power distance and individualism, we learned that culture directly and significantly impacts trust in learning technologies. Culture also significantly changes the strength of the relation between trust and satisfaction. Future research directions and implications for researchers and higher education instructors are discussed.

This research article "Cultural heritage as religious places and artifacts : Crisis and management" has three objectives : 1) to study the concept of the cultural heritages as religious places and artifacts 2) to study crisis and solutions of the cultural heritages as religious places and artifacts in Thailand and 3) to offer the management of cultural heritages as religious places and artifacts. This is a qualitative research by studying related documents and interviews. The research found that (1) the concept of Buddhist cultural heritages as religious places and artifacts refers to The building was built for religious practice in Buddhism can divided into five categories, pagoda, Buddha places, Sangha places, surroundings and monuments. (2) the crisis and solutions of the cultural heritage as religious places and artifacts in Thailand : legal issues, Management problems, Involvement issues of relevant agencies. (3) The way to manage the cultural heritage as religious places and artifacts three models such as 1) Policy formulation Management, the Convention on World heritage and management in accordance with law governing religious places and artifacts. 2) Participatory cultural heritage management model, Collaborative management of monks, Government, Educational institution, Local and private communities to preserve the religious places and artifacts. 3) Management model of cultural heritage in local temples, organizing activities to raise awareness in conservation and the creation of networks for the conservation of religious places and artifacts. ; บทความวิจัยเรื่อง "มรดกวัฒนธรรมในฐานะศาสนสถานและศาสนวัตถุ : วิกฤติการณ์และการจัดการ" มีวัตถุประสงค์ 1) เพื่อศึกษาแนวคิดมรดกวัฒนธรรมที่เป็นศาสนสถานและศาสนาวัตถุ 2) เพื่อศึกษาสภาพวิกฤติการณ์มรดกวัฒนธรรมที่เป็นศาสนสถานและศาสนาวัตถุ 3) เพื่อเสนอแนวทางจัดการมรดกวัฒนธรรมที่เป็นศาสนสถานและศาสนาวัตถุ การวิจัยนี้เป็นการวิจัยเชิงคุณภาพ โดยศึกษาเอกสารและการสัมภาษณ์ ผลการวิจัยพบว่า (1) แนวคิดมรดกวัฒนธรรมในฐานะที่เป็นศาสนสถานและศาสนาวัตถุทางพระพุทธศาสนา คือ สิ่งก่อสร้างที่ปลูกขึ้นเพื่อใช้ปฏิบัติศาสนกิจของสงฆ์ในพระพุทธศาสนา แบ่งได้ 5 ประเภท ได้แก่ เจติยสถาน พุทธสถาน สังฆสถาน บริวารสถานและอนุสรณ์สถาน (2) สภาพวิกฤติการณ์ปัญหามรดกวัฒนธรรมที่เป็นศาสนสถานและศาสนาวัตถุทางพระพุทธศาสนาในประเทศไทยที่สำคัญ มีปัญหาด้านกฎหมาย ปัญหาด้านการจัดการ ปัญหาด้านการมีส่วนร่วม (3) แนวทางจัดการมรดกวัฒนธรรมที่เป็นศาสนสถานและศาสนาวัตถุ 3 รูปแบบ คือ 1) รูปแบบการบริหารจัดการเชิงนโยบาย การจัดการตามอนุสัญญาว่าด้วยมรดกโลก และการจัดการตามกฎหมายว่าด้วยการอนุรักษ์ศาสนสถานและศาสนาวัตถุ 2) รูปแบบการจัดการมรดกวัฒนธรรมแบบมีส่วนร่วม การจัดการประสานความร่วมมือของพระสงฆ์ หน่วยงานราชการ สถาบันการศึกษา ชุมชนท้องถิ่นและภาคเอกชน เพื่อให้เกิดการอนุรักษ์เป็นศาสนสถานและศาสนาวัตถุ 3) รูปแบบการจัดการมรดกวัฒนธรรมภายในวัดเชิงพื้นที่ การจัดกิจกรรมเพื่อสร้างจิตสำนึกในการอนุรักษ์ และการสร้างเครือข่ายเพื่อการอนุรักษ์ศาสนสถานและศาสนาวัตถุ

Long before the onset of the now-emblematic quarrel between England and Greece over the Parthenon marbles, nations and tribes have squabbled over the extraterritorial transfer of objects of purported cultural significance. Over the past few decades, however, there has been a dramatic increase in the number of cultural property repatriation claims, mostly targeting U.S. collections. The value of cultural artifacts is generated largely by the intellectual expression they manifest. Digital technologies make increasingly possible the creation of reproductions of even three-dimensional artifacts, which are indistinguishable from the originals. This development challenges our attributing value to the "aura" of the original renderings of tangible cultural artifacts. Stripped of their auras, the worth of these objects devolves to the sum of the value of the physical materials deployed in their creation, and that ascribed to the perceptible intellectual expression they contain. If we were to perceive cultural artifacts fundamentally as works of information rather than of tangible property, the location of the original instantiations of them would be of little significance. Three-dimensional technologies might soon permit source nations to retain the essential intellectual value of cultural artifacts found within their borders, while simultaneously capitalizing upon sales of the originals to collectors who will pay for their "aura."

This essay analyzes the cultural category "monster" as a mode of disarticulation that shows the naturalization of social operations, through a symbolic representation through which the given order is reversed. We have called this aesthetic and cultural operation of aesthetic objects demonstrification, assigning this new category to those "monstrous" representations and interventions that, rather than "regulate" the difference, propose a critical view. The demonstrified aesthetic object or carrier of the representation and intervention of the monstrous functions as a cultural artifact: as an object that, through heterogeneous, borderline, ambiguous, "strange" forms, produces texts that transcend the traditional notion of art, to position itself as objects cultural critics. In this sense, aesthetic demonstrification is established through a cultural artifact that shows the functioning of an order, powers and norms. It is not a question here of the body of the monster classified by biology, medicine and / or the law, but of the cultural artifact that makes visible, denatures and makes delirious the discourses of biology, medicine, politics, law and even language . For our reading, we will focus on the text The heart attack of the soul (2010), by Diamela Eltit and Paz Errázuriz; Siamese text, created with four hands that puts writing and photography in dialogue from a critical position, in order to make visible the de-ostrifying operation that this text proposes ; El presente ensayo analiza la categoría cultural "monstruo" como un modo de desarticulación que evidencia la naturalización de los funcionamientos sociales, mediante una representación simbólica a través de la cual se revierte el orden dado. A esta operación estética y cultural de los objetos estéticos la hemos denominado desmonstrificación, asignando esta nueva categoría a aquellas representaciones e intervenciones "monstruosas" que, más que "normar" la diferencia, proponen una mirada crítica. El objeto estético desmonstrificado o portador de la representación e intervención de lo monstruoso funciona como artefacto cultural: como un objeto que, mediante formas heterogéneas, fronterizas, ambiguas, "extrañas", produce textos que trascienden la noción tradicional del arte, para posicionarse como objetos críticos culturales. En este sentido, la desmonstrificación estética se establece a través de un artefacto cultural que evidencia el funcionamiento de un orden, de los poderes y de la norma. No se trata aquí del cuerpo del monstruo clasificado por la biología, la medicina y/o la ley, sino del artefacto cultural que visibiliza, desnaturaliza y hace delirar los discursos de la biología, la medicina, la política, ley y hasta de la lengua. Para nuestra lectura, nos centraremos en el texto El infarto del alma (2010), de Diamela Eltit y Paz Errázuriz; texto siamés, creado a cuatro manos que pone a dialogar escritura y fotografía desde una posición crítica, con el fin de visibilizar el funcionamiento desmostrificador que dicho texto propone ; Este artigo analisa a categoria cultural "monstro" como uma forma de mostrar a desarticulação da performances sociais naturalizados através das representaçãoes simbólicas. Nesta operação estética e cultural de objetos estéticos que chamamos desmonstrificación, atribuindo esta nova categoria para essas representaçes e intervençes "monstruosas" em vez de "regular" a diferença, propor um olhar crítico. O desmonstrificado objeto estético ou portador de representação e intervenção das obras monstruosas como um artefato cultural: como um objeto, usando formas heterogêneas, fronteira, ambíguo, "estranhos", textos produzidos que vão além da noção tradicional de arte, para posicionar-se como objetos críticos culturais. Neste sentido, a estética desmonstrificación é estabelecida através de um artefato cultural que mostra a operação de uma ordem, os poderes e regra. Não é uma questão do classificado pela biologia, medicina e / ou a lei, mas o artefato cultural que visibiliza, desnatura e faz discursos delirantes de biologia, medicina, política, organismo de direito monstro e até mesmo a língua. Para a nossa leitura, vamos concentrar-nos sobre o texto El infarto del alma (2010) de Diamela Eltit e Paz Errázuriz; texto siamese, criou quatro mãos que coloca escrita diálogo e fotografia a partir de uma posição crítica, a fim de visualizar o desmostrificador operação que o texto proposto.

Abstract
What follows is a conversation between artist Nicki Green and scholar S. J. Crasnow. In this conversation they consider two of Green's artworks in relationship to historical and contemporary Jewish practice and especially in relationship to queer and trans Jewish communities. Green's pieces, Incantation Crock and Bedikah Quilt Topper, are themselves trans, Jewish ritual objects, and in this conversation Green and Crasnow investigate the underlying themes of queer/trans Jewish futures, history preservation, ritual innovation and challenges to "traditional" Judaism, the queer/trans body as a holy site of transformation, and craft and cultural production to parse and question modes of making and of religious practice.

The article compares two versions of the development of cultural studies. In the first (wide) version, culture is traditionally understood as the whole artificially created "second nature". According to the second, currently prevailing narrow version, the subject of cultural studies is the mental (ideational) aspects of cultures; the physicality of artifacts is supplanted to the periphery of research. A narrow interpretation of culture leads to a number of conceptual flaws and thematic gaps. The prospects of cultural studies are seen by the author in the advantages of a broad interpretation of culture. A model of the morphology of culture is proposed, which includes the frontier, discursive practices, and core values. Three types of artifacts form the frontier of culture on its border with the external environment (nature and other cultures): artificial things, modified organisms and social institutions. The nomenclature of discursive practices that make it possible to build a frontier includes knowledge, technology, and norms. Their historical and cultural configurations undergo significant metamorphoses. A special function of intergenerational translation of cultural achievements is performed by enculturation technologies. The values of cultures are presented, first of all, by symbols. In addition, they are transferred and rebuilt by simulacra, which are capable of performing both destructive and creative functions. Symbols promote following traditions and, simulacra — enriching or changing them. Symbols and simulacra direct the dynamics of cultures. To describe the dynamics of cultures, it is advisable to use the synergistic concept of persistent and transmutation attractors. In persistent attractors, cultures are delicately adapted to external challenges they are accustomed to. A drastic change in challenges pushes culture into one of two transmutation attractors, where it either perishes or gets a chance to become a civilization.

Abstract:The return of cultural objects lost as a result of colonial rule is a controversial issue. A common response is: "it was legal at the time" and, therefore, not a legal issue. But is that so? This article argues that it is not a lack of legal norms that explains this belated discussion but, rather, the asymmetrical application of norms. Moreover, a human rights law approach, focusing on the heritage aspect of cultural objects for people today—instead of a sole focus on property title—offers useful tools to structure this field. To illustrate these points, a case concerning an African ancestral sculpture today known as the "Bangwa Queen" will be assessed on its merits under international law. The Bangwa Queen is of spiritual importance to the Bangwa, a people indigenous to the western part of Cameroon. She was taken as part of a collection of so-calledlefemfigures by German colonizers in 1899 and is currently part of a French museum collection.