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Karen J. Brison

about entrepreneurial individuals and bridge-actions in the unlikely context of studying the Harvest Ministry, an independent Fijian Pentecostal church. On the surface Harvest Ministry sermons advocated a shift away from the ethnic pluralism and hereditary rank that organize Fijian society toward creating middle-class identities based on professional achievements and facility in the world outside

in The anthropology of power, agency, and morality
Open Access (free)
Écorchés, moulages and anatomical preparations – the cadaver in the teaching of artistic anatomy at the Accademia di Belle Arti di Brera
Greta Plaitano

Since the sixteenth century, artistic anatomy – a branch of medical science subordinated to the Fine Arts – has understood itself as a comparative investigation halfway between forensic dissection and the analysis of classical art and live bodies. Its teaching was first instituted in Italy by the 1802 curriculum of the national Fine Arts academies, but underwent a drastic transformation at the turn of the century, as the rise of photography brought about both a new aesthetics of vision and an increase in the precision of iconographic documentation. In this article I will attempt to provide a history of the teaching of this discipline at the close of the nineteenth century within the Accademia di Belle Arti di Brera in Milan, with a focus on its ties to contemporary French practices. Drawing on archival materials including lesson plans, letters and notes from the classes of the three medical doctors who subsequently held the chair (Gaetano Strambio, Alessandro Lanzillotti-Buonsanti and Carlo Biaggi), I will argue that the deep connections between their teaching of the discipline and their work at the city hospital reveal a hybrid approach, with the modern drive towards live-body study unable to wholly supplant the central role still granted to corpses in the grammar of the visual arts.

Human Remains and Violence: An Interdisciplinary Journal
Open Access (free)
Deaths and politicised deaths in Buenos Aires’s refuse
Mariano D. Perelman

The appearance of corpses in rubbish tips is not a recent phenomenon. In Argentina, tips have served not only as sites for the disposal of bodies but also as murder scenes. Many of these other bodies found in such places belong to individuals who have suffered violent deaths, which go on to become public issues, or else are ‘politicised deaths’. Focusing on two cases that have received differing degrees of social, political and media attention – Diego Duarte, a 15-year-old boy from a poor background who went waste-picking on an open dump and never came back, and Ángeles Rawson, a girl of 16 murdered in the middle-class neighbourhood of Colegiales, whose body was found in the same tip – this article deals with the social meanings of bodies that appear in landfills. In each case, there followed a series of events that placed a certain construction on the death – and, more importantly, the life – of the victim. Corpses, once recognised, become people, and through this process they are given new life. It is my contention that bodies in rubbish tips express – and configure – not only the limits of the social but also, in some cases, the limits of the human itself.

Human Remains and Violence: An Interdisciplinary Journal
Desire and the border in the southern Balkans
Rozita Dimova

чувство) factor. The regulars are pampered by the casino’s employees and, as many of them are ‘peasants’ (сељаци) from the rural areas around Thessaloniki, Kilkis or Voden who work hard on their land the entire week, the weekend visits to the casinos give them a sense of importance, class and luxury. The casino thus becomes a fantasy space where they

in Borders of desire
Hindu Nadar identities in urban South India
Sara Dickey

contrasting levels of honour and stigma. Because both statuses are publicly readable and framed by largely inflexible hierarchies, because castes are seen as hereditary groups, and because persons are frequently identified by others with their extended kin groups, individual Hindu Nadars are to some extent ‘known’ by the entire community’s reputed caste and class standings. Any

in The anthropology of power, agency, and morality
Providencia – Colectivo MapsUrbe

just a few kilometres but completely disconnected, having in common only the hundreds and thousands of workers who cross the entire region to carry out their daily tasks for the care and comfort of Santiago’s upper classes. In Chile, just like in other contexts in Latin America, there is a specific taxonomy to name these high-income sectors of society: they are called cuicos . Of course, the cuicos are not only recognizable by their accumulated capital. They behave in a certain way and have an identifiable

in Performing the jumbled city
Rozita Dimova

border During the socialist period economic exchange was officially conducted between the Yugoslav Federation and Greece. However, the everyday informal border crossings of goods and money were primarily done by tourists and consumers from Macedonia and Serbia (and the other former Yugoslav republics, although not nearly so intensively). The Northern Greek lower-class holiday resorts such as Paralia, Platamona, and Leptokaria were favorite destinations for the average working- and lower middle-class socialist consumers, whose yearly savings would be

in Border porosities
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Everyday life practices after the event

In Cairo collages, the large-scale political, economic, and social changes in Egypt brought on by the 2011 revolution are set against the declining fortunes of a single apartment building in a specific Cairo neighbourhood. The violence in Tahrir Square and Mohamed Mahmud Street; the post-January euphoric moment; the increasing militarisation of urban life; the flourishing of dystopian novels set in Cairo; the neo-liberal imaginaries of Dubai and Singapore as global models; gentrification and evictions in poor neighbourhoods; the forthcoming new administrative capital for Egypt – all are narrated in parallel to the ‘little’ story of the adventures and misfortunes of everyday interactions in a middle-class building in the neighbourhood of Doqi.

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David MacDougall

feel exposed and vulnerable, it also opens up new ways of sensing, thinking and acting. The boundaries crossed are, most obviously, those of culture and language, but they may also be those of social class, gender, age and radically different patterns of living. More often than not, ethnographic filmmakers have to deal with several of these differences at once. Filmmakers have responded in various ways to filming outside their own societies. For some, like Jean Rouch, it has been an adventure

in The art of the observer
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Essays on cinema, anthropology and documentary filmmaking

The looking machine calls for the redemption of documentary cinema, exploring the potential and promise of the genre at a time when it appears under increasing threat from reality television, historical re-enactments, designer packaging and corporate authorship. The book consists of a set of essays, each focused on a particular theme derived from the author’s own experience as a filmmaker. It provides a practice-based, critical perspective on the history of documentary, how films evoke space, time and physical sensations, questions of aesthetics, and the intellectual and emotional relationships between filmmakers and their subjects. It is especially concerned with the potential of film to broaden the base of human knowledge, distinct from its expression in written texts. Among its underlying concerns are the political and ethical implications of how films are actually made, and the constraints that may prevent filmmakers from honestly showing what they have seen. While defending the importance of the documentary idea, MacDougall urges us to consider how the form can become a ‘cinema of consciousness’ that more accurately represents the sensory and everyday aspects of human life. Building on his experience bridging anthropology and cinema, he argues that this means resisting the inherent ethnocentrism of both our own society and the societies we film.