Suchergebnisse

"This volume focuses on coalitions and collaborations formed by refugees from Nazi Germany in their host countries. Exile from Nazi Germany was a global phenomenon involving the expulsion and displacement of entire families, organizations, and communities. While forced emigration inevitably meant loss of familiar structures and surroundings, successful integration into often very foreign cultures was possible due to the exiles' ability to access and/or establish networks. By focusing on such networks rather than on individual experiences, the contributions in this volume provide a complex and nuanced analysis of the multifaceted, interacting factors of the exile experience. This approach connects the NS-exile to other forms of displacement and persecution and locates it within the ruptures of civilization dominating the twentieth and twenty-first centuries. Contributors are: Dieter Adolph, Jacob Boas, Margit Franz, Katherine Holland, Birgit Maier-Katkin Leonie Marx, Wolfgang Mieder, Thomas Schneider, Helga Schreckenberger, Swen Steinberg, Karina von Tippelskirch, Jörg Thunecke, Jacqueline Vansant, and Veronika Zwerger"--Provided by publisher

14. Do's and don'ts when you're a kid in the Maldives15. Signs you're at a hair salon in Singapore; 16. Things I do instead of working on my book; 17. Signs you're living in a condo in Singapore; 18. Signs you're at a nail salon in Singapore; 19. Signs you're not slumming it in Singapore; 20. Life according to Eliot (expat child, age 5); 21. Stereotypes about Singapore that are actually true; 22. A day in the life of an expat in Singapore; 23. Favourite landmarks in Singapore; 24. Signs your kids need a Chinese tutor; 25. Things my mom told the kids (which she didn't really have to).

This volume contains 14 original chapters focusing on various aspects of economic organization and behaviour, mostly based on empirical fieldwork conducted by the authors themselves. It is a well-balanced collection of chapters on economic issues studied anthropologically, not only in its geographical and theoretical focus but also in showcasing work by established and emerging researchers. Chapters on Africa take a close look at urban food provisioning in Cameroon and an investigation into entrepreneurial activities in the rapidly-changing economy of Cairo. Other chapters examine places and cultures in Central Asia - property rights and state power in Kazakhstan, and animal markets in Kashgar, Western China. The buying and selling activities of ethnic groups within larger societies such as Latin Americans in the USA and Gabor Roma in Romania are highlighted. Concerning North America are chapters on the trans-Atlantic (and global) art market, and on oil drilling in Canada, while in Latin America, income disparities and inequalities in Brazil, development in Colombia, and kin-like compadrazgo networks in Mexico are analyzed. Historical Western Europe and pre-historical Ecuador are also covered.

The port city of Liverpool, England, is home to one of the oldest Black communities in Britain. Its members proudly date their history back at least as far as the nineteenth century, with the global wanderings and eventual settlement of colonial African seamen. Jacqueline Nassy Brown analyzes how this worldly origin story supports an avowedly local Black politic and identity--a theme that becomes a window onto British politics of race, place, and nation, and Liverpool's own contentious origin story as a gloriously cosmopolitan port of world-historical import that was nonetheless central to British slave trading and imperialism. This ethnography also examines the rise and consequent dilemmas of Black identity. It captures the contradictions of diaspora in postcolonial Liverpool, where African and Afro-Caribbean heritages and transnational linkages with Black America both contribute to and compete with the local as a basis for authentic racial identity.--From publisher's description

Konflikte scheinen heute gleichbedeutend mit Gewalt und Krieg. Doch Konflikte sind vielschichtig: Sie können sowohl zur Integration von Gesellschaften beitragen als auch diese zerbrechen. Die Anthropologie der Konflikte, zu der Georg Elwert weiterführende Thesen beigetragen hat, beleuchtet unterschiedliche Konfliktdynamiken und geht der Frage nach, unter welchen Bedingungen integrative, eskalative oder segregative Institutionen der Konfliktaustragung entstehen - oder wieder zerfallen. Der Band geht davon aus, dass Konfliktformen und soziale Organisation in einem wechselseitigen Zusammenhang stehen. Daher hat die Anthropologie der Konflikte deren verschiedene Formen, ihre kulturelle Codierung wie auch ihre konstitutive Rolle für sozialen Wandel zu untersuchen.

Bad Dreams of Big Business: Charlotte Perkins Gilman, 1898Six; All Kinds of People Gettin' On, 1954; The Color Line: W.E.B. Du Bois, 1903; Part III. Between, Before, and Beyond, 1873-2020; Seven; When Good People Do Evil, 1989; The Queer Passing of Analytic Things: Nella Larsen, 1929; Eight; What Would Jesus Have Done? 1965; The Race of Time: Deconstruction, Du Bois, and Reconstruction, 1935-1873; Nine; Dreaming in the Dark, November 26, 1997; Justice in the Colonizer's Nightmare: Muhammad, Malcolm, and Necessary Drag, 1965-2020; Ten; A Call in the Night, February 11, 2000.

Margaret Lock explicitly compares Japanese and North American medical and political accounts of female middle age to challenge Western assumptions about menopause. She uses ethnography, interviews, statistics, historical and popular culture materials, and medical publications to produce a richly detailed account of Japanese women's lives. The result offers irrefutable evidence that the experience and meanings-even the endocrinological changes-associated with female midlife are far from universal. Rather, Lock argues, they are the product of an ongoing dialectic between culture and local biologies.Japanese focus on middle-aged women as family members, and particularly as caretakers of elderly relatives. They attach relatively little importance to the end of menstruation, seeing it as a natural part of the aging process and not a diseaselike state heralding physical decline and emotional instability. Even the symptoms of midlife are different: Japanese women report few hot flashes, for example, but complain frequently of stiff shoulders.Articulate, passionate, and carefully documented, Lock's study systematically undoes the many preconceptions about aging women in two distinct cultural settings. Because it is rooted in the everyday lives of Japanese women, it also provides an excellent entree to Japanese society as a whole.Aging and menopause are subjects that have been closeted behind our myths, fears, and misconceptions. Margaret Lock's cross-cultural perspective gives us a critical new lens through which to examine our assumptions

International audience ; Le nouveau Musée National d'Anthropologie fut inauguré à Mexico en 1964. On a souvent signalé que le bâtiment ainsi que la conception muséologique expriment l'indigénisme nationaliste du parti d'État à l'époque, le PRI (Partido Revolucionario Institucional). Le musée synthétise le centralisme politique du régime, le néo-évolutionnisme des archéologues et l'histoire mythique aztèque-mexica. Tandis que le premier étage célèbre les gloires du passé préhispanique du Mexique, le second expose l'ethnographie des groupes indigènes qui survivent « encore ». Il était entendu que la tâche des ethnologues était de « sauver » la valeur de ces traditions avant leur assimilation totale à la population métisse mexicaine. L'État-nation s'est approprié l'histoire des civilisations préhispaniques ; la capacité d'action des peuples autochtones actuels se trouve totalement niée. Un groupe de Huichols a cependant inversé la situation en s'appropriant le monolithe de Coatlicue, qu'ils ont adopté comme l'une de leurs déesses ancestrales.

International audience ; The history of the radical photography collective Half Moon Photography Workshop has not been the subject of in-depth research in accounts of 1970s British photography. At a moment when photography was gradually gaining recognition as an art form, its radical voice and independent stance played a fundamental role in shaping the photographic landscape in Britain. Between 1972 and 1985, Half Moon Photography Workshop initiated pioneering debates on the politics of photographic representation and the re-invention of documentary practices (Ribalta, 2015) and was instrumental in the emergence of a photographic theory. Based on archival research and interviews conducted with some founding members, this detailed history examines the initial project, tensions and evolution of the organization which started as the Half Moon Gallery in 1972, became the Half Moon Photography Workshop in October 1975, and eventually Camerawork in 1981, taking the name of its successful photography magazine Camerawork published from 1976. As a gallery, a publishing project and a resource center equipped with darkrooms open to all, the East End organization acted as a catalyst in the expanding British photographic landscape of the 1970s. The new political context of the 1980s and unresolved internal tensions caused its demise in 1985.

International audience ; The article proposes a political - territorial history of the south of Belize in the 18-19-20th centuries. It shows how the various Mayan spatialities result of options historically and spatially situated, taken for the different actors, and how these options are articulated depending on the opportunities (political and economic) and on the resources available in every moment. To the spatial colonial order imposed at the end of the 19th century, we don't find an univocal indian territoriality nor a Mayan unified resistance, but territorial strategies that were changing depending on the contexts : here the defense of the urban plot (in the western part), there of the agricultural land (in the northern part), there finally of the ancestral maya territory (in the southern part). In different contexts, the colonial state politics confront with strategies and even resistances that expressed to diverse levels, internal and external to the maya group indian, feeding a debate that is linked to wider political projects : the consolidation of the colonial power and, today, the construction of an independent multicultural nation. ; El artículo propone una historia político-territorial del sur de Belice en los siglos 18-19-20. Muestra como las territorialidades maya son resultados de opciones históricamente y espacialmente situadas, tomadas por los distintos actores, y como estas opciones se engarzan y se articulan en función de las oportunidades (políticas y económicas) y de los recursos disponibles en cada momento. Al orden espacial colonial impuesto a finales del siglo 19 se opusieron no una territorialidad unívoca y una resistencia maya unificada, sino estrategias territoriales que variaban en función de los contextos : aquí la defensa del lote urbano (al oeste), allí de la tierra agrícola (al norte), allí por fin del territorio ancestral (al sur). En distintos contextos espacio-temporales, las propuestas del Estado se toparon con oposiciones e incluso resistencias que se expresaron a niveles ...

International audience ; The history of the radical photography collective Half Moon Photography Workshop has not been the subject of in-depth research in accounts of 1970s British photography. At a moment when photography was gradually gaining recognition as an art form, its radical voice and independent stance played a fundamental role in shaping the photographic landscape in Britain. Between 1972 and 1985, Half Moon Photography Workshop initiated pioneering debates on the politics of photographic representation and the re-invention of documentary practices (Ribalta, 2015) and was instrumental in the emergence of a photographic theory. Based on archival research and interviews conducted with some founding members, this detailed history examines the initial project, tensions and evolution of the organization which started as the Half Moon Gallery in 1972, became the Half Moon Photography Workshop in October 1975, and eventually Camerawork in 1981, taking the name of its successful photography magazine Camerawork published from 1976. As a gallery, a publishing project and a resource center equipped with darkrooms open to all, the East End organization acted as a catalyst in the expanding British photographic landscape of the 1970s. The new political context of the 1980s and unresolved internal tensions caused its demise in 1985.