further, arguing that these ‘imponderabilia’ are manifestations of what he refers to as ‘the subjective desire of feeling’, a concept that is awkwardly expressed in this isolated phrase, but which is not dissimilar to what we would now call, in the language of phenomenology, ‘lived experience’.
Among the specific examples of practices manifesting this ‘subjective desire of feeling’ that Malinowski cites, there are many that would be very effectively evoked through film. These include the routines of working life, the way in which the body is cared
human being among other human beings, or, if you will, a
humane human being among other humane human beings, at a
certain time and in a certain cultural context. We are human by
nature, but we can only become humane human beings in a community (Kindeberg 2011:42f, 67f).
Communication theorist James W. Carey’s theories (1992, 1998)
are also of significance for this analysis. In his studies he foregrounds
the importance of anthropology and phenomenology for understanding the relationship between communication and culture. Carey’s
innovative view (at the time