O objetivo deste artigo é apresentar reflexões sobre o núcleo muçulmano da telenovela O Clone , que foi exibido entre outubro de 2001 e junho de 2002, na Rede Globo de Televisão, tendo sua reprise iniciada em janeiro de 2011. Telenovela escrita por Gloria Perez autora conhecida pelos temas “étnicos” e de cunho social, tais como, ciganos, muçulmanos, indianos, transplante de órgãos, alcoolismo, imigração ilegal, clonagem humana. O argumento que sustento é que a novela “salvou” a comunidade islâmica brasileira (...) da “invisibilidade” e trouxe para dentro das casas brasileiras um pouco da cultura árabe-islâmica, que embora estereotipados, contribuíram significativamente para revelar à nossa sociedade quem são os muçulmanos e em que eles acreditam. Ao escrever o artigo me deparei com outro tipo de “invisibilidade”, os quase inexistentes trabalhos em antropologia visual que contemplam análise de imagens de telenovelas. Neste sentido, este texto busca contribuir com outros modos de ver a televisão, em particular, a telenovela. (shrink)

Purpose. Based on the anthropocentric approach to the analysis of visual self-presentations of Artemisia Gentileschi in paintings, to present the artwork as self-objectifications of the artist, which give rise to a new cultural reality and are at the same time a means of knowing the essence of man. Theoretical basis. The principles and methods of philosophical and anthropological research in combination with biographical, historical and comparative, iconographic, figurative and stylistic methods were used when writing the article. Among philosophical and (...) anthropological methods the principle of anthropological reduction was used, based on which the works by Artemisia Gentileschi were analyzed as her self-objectification, principle of extrapolation of a separate fact of the painter’s life and anthropological interpretation of art evolution, when an attempt is made to know their creator through a series of chronological consistent works as figurative objectification. The biographical method was used when working with data on the painter’s life, iconographic and figurative stylistic – when analyzing the art visuals: self-portraits, allegories and narrative paintings. The analytical work was carried out in stages as transition from an iconographic interpretation of paintings with gradual elimination of art and style characteristics as extra-anthropological cultural constants with subsequent anthropological reduction of cultural image. Originality consists in the author’s method of analyzing the works of visual art in terms of anthropocentric approach, as well as in considering the artwork by Artemisia Gentileschi as her self-objectification as such that give rise to a new cultural reality. Conclusions. The artworks by Artemisia Gentileschi in diachronic deployment can be seen as the painter’s self-objectification, which traces the evolution of self-expression from a person with traditional self-perception by social gender stereotypes to the phenomenon of personal life, which will determine further evolution of her self-identification and extirpation of sense of shame through virtual revenge, repentance, guilt, and formation of component of the painter’s identity as exemption from social gender prejudices and stereotypes on roles and standards of behavior socially assigned to women. (shrink)

Since its founding in the nineteenth century, social anthropology has been seen as the study of exotic peoples in faraway places. But today more and more anthropologists are dedicating themselves not just to observing but to understanding and helping solve social problems wherever they occur--in international aid organizations, British TV studios, American hospitals, or racist enclaves in Eastern Europe, for example. In Exotic No More , an initiative of the Royal Anthropological Institute, some of today's most respected anthropologists demonstrate, in (...) clear, unpretentious prose, the tremendous contributions that anthropology can make to contemporary society. They cover issues ranging from fundamentalism to forced migration, child labor to crack dealing, human rights to hunger, ethnicity to environmentalism, intellectual property rights to international capitalisms. But Exotic No More is more than a litany of gloom and doom the essays also explore topics usually associated with leisure or "high" culture, including the media, visual arts, tourism, and music. Each author uses specific examples from their fieldwork to illustrate their discussions, and 62 photographs enliven the text. Throughout the book, the contributors highlight anthropology's commitment to taking people seriously on their own terms, paying close attention to what they are saying and doing, and trying to understand how they see the world and why. Sometimes this bottom-up perspective makes the strange familiar, but it can also make the familiar strange, exposing the cultural basis of seemingly "natural" behaviors and challenging us to rethink some of our most cherished ideas--about gender, "free" markets, "race," and "refugees," among many others. Contributors: William O. Beeman Philippe Bourgois John Chernoff E. Valentine Daniel Alex de Waal Judith Ennew James Fairhead Sarah Franklin Michael Gilsenan Faye Ginsburg Alma Gottlieb Christopher Hann Faye V. Harrison Richard Jenkins Melissa Leach Margaret Lock Jeremy MacClancy Jonathan Mazower Ellen Messer A. David Napier Nancy Scheper-Hughes Jane Schneider Parker Shipton Christopher B. Steiner. (shrink)

As a fan of EastEnders the purpose of the author's dissertation was to examine current thinking on Gender and Cultural Identity in Northern Ireland through a literature review and some small scal/e research into the viewing of the soap opera.The author explored the issues with a group of eighteen Protestant and Catholic women. There were few significant differences in usage across age, class and cultural background. All of the women were capable of resistive readings as well as deep involvement (...) and there was a spread of opinion about some of the more controversial issues dealt with. Attitudes to identity were more complex than often seems apparent in a simplistic reference to 'Two Communities'.The clearest division carne on the issue of the feasibility of a local soap opera. Middle class women rejected this idea whilst the working class women welcomed it as an opportunity to explore contentious issues through afamiliar medium which has a particular relevance to women. (shrink)

This paper argues that the concept of soap-opera realism, as developed in some of the recent critical writing on soap opera, is central to the understanding of this form of television drama. However, in its present form, this concept is insufficiently nuanced. In developing the concept, the work of Raymond Williams is drawn upon to delineate three sub-types of soap-opera realism: soap-opera realism in the subjunctive mode, soap-opera realism in the indicative mode, and soap-opera (...) naturalism. The latter is then discussed in detail with particular attention being paid to Coronation Street. In the course of this analysis, two key naturalistic elements in Coronation Street are considered: the nature of living spaces and the connection of character to environment. (shrink)

Purpose of the article is to highlight the peculiarities of the androgyny presentation in current visual culture, in particular in fashion and its philosophical and culturological comprehension. Determination of the leading trends associated with the offset of gender stereotypes and denial of the established separation into the feminine and masculine beginnings is due to the attention to the latest theories, such as transfeminism. Theoretical basis is the works of contemporary authors who develop such concepts as "gender", "gender identity", "androgyne" (...) and move within the limits of the theories of transfeminism and transgenderism. The leading French thinker J. Baudrillard outlines philosophical measurements related to the justification of fashion. The interaction issues of the feminist theory, aesthetics of gender and androgyny, which are manifested in visual images, are presented in the writings of P. Auslander, R. Crepax. Transformation of the androgyny idea is considered in the works of B. Řiháková, F. J. Galarte. S. Stryker, T. Bettcher and J. Halberstam also address the problem of transgenderism and transfeminism in their writings. Originality is to highlight the main aspects associated with actualization of androgyny, its visual presentations in fashion, and the connections with contemporary theoretical discourse. A number of concepts related to the transformation of gender stereotypes have been identified. It was revealed that the logical continuation of changes in society, science and technical development is the actualization of androgyny as an individual’s freedom in self-presentation and self-identification. It was emphasized that during the last century androgyny also serves as the basis for forming new trends in theoretical discourse, in particular, transfeminism, as well as it finds many visual manifestations in fashion and fashion industry. Conclusions contain the results of the study that describes the role of androgyny in the context of today’s culture as a measurement of personal freedom, aimed at avoiding gender stereotypes and the usual dichotomy of masculinity and femininity, which manifests itself in contemporary visual practices. (shrink)

The article presents a methodological update on the lexical profile of informal spoken English with the emphasis on movies, television programs, and soap operas. The study analyzed Mark Davies’s mega-corpora with data containing approximately 625 million words and employed Paul Nation’s comprehensive and up-to-date British National Corpus/Corpus of Contemporary American English wordlists. Data from the analyses showed that viewers would need a vocabulary knowledge at 3,000 and 5,000 words frequency levels to understand 95 and 98% of the words in (...) scripted dialogs, respectively. Soap operas were found to be less lexically demanding compared to TV programs and movies. Findings are expected to fill in the methodological gaps between vocabulary assessment and vocabulary profiling research. (shrink)

The commemorative edition of the 80th anniversary of Casa Grande & Senzala, the founding book of Brazilian modern sociology written by Gilberto Freyre and published in 2013, shows on its cover a glamorous ‘Casa Grande’, lit like an architectural landmark, ready to serve as the set for a film or a TV soap opera. What happened to the ‘Senzala’ that appeared on the covers of the dozens of previous editions? This paper investigates, following some changes in Brazilian Visual (...) Culture in the twentieth century, how such an astonishing disappearance could take place. The paper examines the image of the slave quarters as part of a racial trope: a foundational and colonial trope, one that is capable of institutionalizing subjects and producing a subaltern mode of subjectivity. It also explores connections between critical legal studies and visual and cultural studies to question how and why knowledge produced over the status, nature and function of images contributes to institute—and institutionalize subjectivity. In order to explain this disappearance we propose a legal-iconological experiment. We will enunciate, and attempt to enact, the Statute of Image-nation: the laws of the image that constitute subjectivity in Brazilian racial tropes. In doing so, we might be able to point out the ways in which law and image function together in institutionalizing subjectivity—and subjection. (shrink)

Eastern Orthodox theology affirms the liturgy as an anticipatory icon of God's reign that establishes a pattern of relationships by which Christians are called to live in and for the world. Taking at face value an Orthodox theological claim that the liturgy is the sole source for deriving ethical actions, Orthodox theologians typically address the question of female priesthood within the existing visual parameters of the liturgy in which men exercise authority. Given patterns addressed by both aspects of ritual (...) theory and contemporary anthropology, the articulation of anthropologies that likewise limit the authority and capability of women is to be expected. However, these defenses of the exclusion of women from full participation in the liturgy, including sacramental ordination, are the result of a reductionistic view of the priesthood, the liturgy, and human persons. Neither Orthodox personalism, nor its ethical implications, nor a few rarely glimpsed snippets of the Orthodox tradition support such reductionism. Rather, recognition of the unique capabilities of women by the community and their welcome participation within the community encourages the joy that underlies the transformation of a people who live for the life of the world. (shrink)

Sexual depictions were analyzed in 139 episodes of seven drama serials on British mainstream television over a four-week period in November–December 2006. Scenes that depicted sexual behavior and talk about sexual matters were counted separately. Further distinctions were made on the basis of the levels of intimacy and the graphic nature of portrayals. A total of 506 sexual scenes were found that occurred at the rate of 6.5 per hour across the seven soaps, but this figure was inflated by one (...) late-night serial that averaged 16.0 scenes per hourly episode. Nearly two-thirds of these scenes were restricted to talk about sexual matters, while the others contained overt depictions of sexual behavior. Sexual intercourse was relatively rare and restricted in terms of overt depictions to the late-night serial. Passionate kissing was far more prevalent throughout these programs regardless of the time of day the program was transmitted. When sexual intercourse was featured, this was generally in the context of loss of virginity or of infidelity. (shrink)

Collection of essays from international anthropologists; chapters include ethographic filming and the cinema; recent approaches to anthropological film preservation of anthropological information and future of visual anthropological theory; two articles with Australian references annotated separately.

Feminist thinkers have commonly interpreted Edith Stein’s “dual anthropology” as a form of essentialism and difference feminism. For them, men and women have (or should have) different functions and capabilities. The article argues against this traditional account. Starting from two distinct criticisms of difference feminism – that of Judith Butler and that of Martha Nussbaum – it claims that the best way to read Stein’s position is to consider it a liberal feminism, for the emphasis that she puts on the (...) uniqueness of every single human being. (shrink)

Biology is seen not merely as a privileged oppressor of women but as a co-victim of masculinist social assumptions. We see feminist critique as one of the normative controls that any scientist must perform whenever analyzing data, and we seek to demonstrate what has happened when this control has not been utilized. Narratives of fertilization and sex determination traditionally have been modeled on the cultural patterns of male/female interaction, leading to gender associations being placed on cells and their components. We (...) also find that when gender biases are controlled, new perceptions of these intracellular and extracellular relationships emerge. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Pleasures of FictionDenis DuttonHuman Beings Expend staggering amounts of time and resources on creating and experiencing art and entertainment—music, dancing, and static visual arts. Of all of the arts, however, it is the category of fictional story-telling that across the globe today is the most intense focus of what amounts to a virtual human addiction. A recent government study in Britain showed that if you add together (...) annual attendances in plays and cinema with hours watching television drama, the average Briton spends roughly 6% of all waking life watching dramatic performances. And that figure does not even include books and magazines: further vast numbers of hours spent reading short stories, bodice-rippers, mysteries, and thrillers, as well as so-called serious fictions, old and new.The origins of this obsession with comic and dramatic fictions are lost in remote prehistory, as lost as the origins of language itself. But like language, we know the obsession with fiction is universal: stories told, read, and dramatically or poetically performed are independently invented in all known cultures, literate or not, having advanced technologies or not. Wherever printing arrives, it is used to reproduce fictions. Whenever television appears in the world, soap operas soon show up on the schedule. Both the forms that fiction takes and the ideas, types of characters, and kinds of conflict that make up its content can be shown to be strikingly similar across cultures. It has specialist practitioners—rhapsodes, novelists, playwrights, actors—and is governed both informally with stylistic conventions and sometimes formally—for example, by censorship laws. A love of fiction is as universal as governance, marriage, jokes, religion, and the incest taboo. [End Page 453]The question for any general aesthetics is: Why? Joseph Carroll is a literary theorist who has applied his probing mind over the last decade to the origins, nature, and functions of literary experience. His new collection of essays and reviews, Literary Darwinism: Evolution, Human Nature, and Literature (Routledge, $85.00 boards, $23.95 paper) looks at literature and literary theory through the lens of evolutionary psychology. At the same time, Carroll's eye is that of an extremely perceptive literary critic. In fact, I would judge him to be one of the most acute and knowledgeable readers of fiction I've ever encountered. It should not come as a surprise, therefore, that he is sometimes dubious, or even scathing, about evolutionary explanations of literature that have been offered up by writers whose grasp of psychology exceeds, in his opinion, their command of high literature. His complaints, however, are not to the fundamental notion that evolution by natural and sexual selection have made human beings into the story-loving animals they have become: his adjustments are intended to increase the accuracy and usefulness of Darwin's revolution. However critical he is of evolutionary psychologists, Carroll remains a Darwinian through and through.Carroll holds that the only way to attain a general theory of literature is through an account of human nature that builds from the ground up, from the most basic conditions for the evolution of the human species. A Darwinian literary theory first needs a Darwinian psychology. Once we have a basic Darwinian psychology in place, we can see that the narrative proclivities of human beings, far from being an incidental by-product of the evolved mind, are central to some of its most human functions. The structures of basic motives and dispositions are what would be appropriate for a species, as Carroll describes it, that "is highly social and mildly polygynous, that displays concealed ovulation, continuous female receptivity, and postmenopausal life expectancy corresponding to a uniquely extended period of childhood development, that has extraordinary aptitudes for technology, that has developed language and the capacity for peering into the minds of its conspecifics, and that displays a unique disposition for fabricating and consuming aesthetic and imaginative artifacts." Such a list alone, he contends, would make it impossible to imagine a blank-slate view of the mind, in which the mind evolves in a vacuum, goes onto produce culture, which then gives back to the mind all content and structure.Some of the mental processes that grow from... (shrink)

I use Nietzsche's work on theodicy to explore gendered valuation systems around women's bodies. The notion of theodicy provides a different entry point to questions of ideology, as it begins with an account of people's attempts to find meaning in their lives. Nietzsche traced humans' propensity to look for and create stories that give meaning to their lives, even when this meaning is one that may ultimately oppress them or celebrate something negative, such as suffering. For him it is not (...) the suffering that torments humans, but rather its meaninglessness. In the slums of Northeast Brazil, Afro-Brazilian women invest in the Christian glorification of suffering in a context where they experience their bodies in terms of loss, shame and alienation. I explore how, through a process of creative deception, this suffering comes to be experienced as pleasure. That is, the women reconstruct their bodies using two dominant stories to which they have access: Christianity and glamorous Brazilian soap operas. South African Journal of Philosophy Vol. 26 (1) 2007: pp. 31-43. (shrink)

I use Nietzsche's work on theodicy to explore gendered valuation systems around women's bodies. The notion of theodicy provides a different entry point to questions of ideology, as it begins with an account of people's attempts to find meaning in their lives. Nietzsche traced humans' propensity to look for and create stories that give meaning to their lives, even when this meaning is one that may ultimately oppress them or celebrate something negative, such as suffering. For him it is not (...) the suffering that torments humans, but rather its meaninglessness. In the slums of Northeast Brazil, Afro-Brazilian women invest in the Christian glorification of suffering in a context where they experience their bodies in terms of loss, shame and alienation. I explore how, through a process of creative deception, this suffering comes to be experienced as pleasure. That is, the women reconstruct their bodies using two dominant stories to which they have access: Christianity and glamorous Brazilian soap operas. (shrink)

Public policy debates such as we find in the Untied Nations, the Singapore Bioethics Advisory Committee, and the US President’s Council on Bioethics reflect behind-the-scenes theological debates. Although religious spokespersons agree nearly universally that human reproductive cloning should be banned; moral ambivalence rises when confronting human embryonic stem cell research. Rather than focus on beneficence (medical benefits), religious bioethicists focus on nonmalificence (embryo protection). The Vatican claim that stem cell research should be banned because it destroys embryos appears at first (...) to rely upon ensoulment at conception; but a closer analysis shows that the Vatican position relies upon genetic uniqueness. Appeal to genetic uniqueness is inadequate for Christian anthropology; what needs to be added is a relational and proleptic understanding of human dignity. (shrink)

The article explores the relationship between visual culture and the fight for visibility and attention in contemporary society. It draws on a concept of visual culture which not only sees the rising significance of the visual and the proliferation of images as its defining traits, but also the fact that, today, people are—to a much higher degree—both consumers as well as producers of images. Based on this definition, it is argued that in visually oriented communication and media (...) societies, the anthropologically fundamental need for attention manifests itself as a fight for visibility which takes on the form of ever more extreme forms of public self-display. Furthermore, a portrait of two social figures—the star and the voyeur—will serve as further analysis and description of the social trends which can be tied to the emergence of today's visual culture. The article will close by discussing attention and visibility in terms of inclusion and exclusion and by proposing an analytical model for differentiating four modes of existence in a visual culture. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2017 Heft: 215 Seiten: 73-90.

"Roy Wagner is a one-of-a-kind anthropologist whose books provide intense intellectual stimulation. His way of connecting the world of New Guinea to the world of anthropology is unique and, well, mind-blowing.... He writes books that you actually want to and will read more than once."--Steven Feld, author of Sound and Sentiment "Wagner asks, daringly, what it would be like to imagine one of the most significant of human activities, the activity of description or representation, as a self-scaling phenomenon.... One begins (...) to glimpse a genuine 'alternative anthropology.'"--Marilyn Strathern, author of The Gender of the Gift. (shrink)

This paper provides a brief visual history of the ways women patients, and specifically women patients whose marital status is identified in conjunction with their illness, have been constructed as abnormal in the images of advertisements designed to promote psychotropic medications to an audience of psychiatrists. The advertisements I discuss come from the two largest circulation American psychiatric journals, The American Journal of Psychiatry and Archives of General Psychiatry, between the years 1964 and 2001. I use the ads to (...) focus on two concomitant narratives. On one hand, I show how the advertisements situate the rise of wonder drugs in the context of an era described as the golden age of psychopharmacology, during which time drug treatments helped revolutionize the diagnosis and treatment of anxiety, depression, and other outpatient mental illnesses in the United States. On the other hand, the advertisements also illustrate the ways in which these new scientific treatments could not function free of the culture in which they were given meaning. In the space between drug and wonder drug, or between medication and metaphor, the images thus hint at the ways psychotropic treatments became imbricated with the same gendered assumptions at play in an American popular culture intimately concerned with connecting normal and heteronormal when it came to defining the role of women in civilization. (shrink)

The aim of this text is to develop an epistemological-technique approach which permit analyze the work of Juan Downey, and his use of technical medias and also include the struggle against the State in the political and cultural model of the primitive societies of the Yano- mani, particularly by the work of Pierre Clastres and Jacques Lizot, and also their point of view of the methods of production in the societies of abundance, as theorized the anthropologist Marshall Sahlins, considering these (...) anthropological paradigms as a medium to understand the mediatic interaction and the technique development in the works of Juan Downey. (shrink)

Here moral problems created by the use of constructive imaging technologies within the life sciences are discussed. It specifically deals with the creation of dichotomies, such as gender, race and other differences, created and manifested through the contingent use of scientific and computational models and methods, channelling the production process of scientific results and images. Gender in technology studies has been concerned with destabilizing essentialist and dichotomous co-constructions of gender and technology. In the technological construction process gendered social constructions of (...) stereotypes and inequalities both of the technological models and of the presumptions in life sciences become structural properties of the artefacts, again flowing back into the seemingly objective results and knowledge of the life sciences. Here we will deal with the construction of gender differences via biomedical imaging and the creation of norms in atlases. Additionally, the de-contextualized images, showing idiosyncratic selections and reducing complexity are used to popularize gendered assumptions about biological facts. (shrink)

As the recent Ebola outbreak demonstrates, visibility is central to the shaping of political, medical, and socioeconomic decisions. The symposium in this issue of the Journal of Bioethical Inquiry explores the uneasy relationship between the necessity of making diseases visible, the mechanisms of legal and visual censorship, and the overall ethics of viewing and spectatorship, including the effects of media visibility on the perception of particular “marked” bodies. Scholarship across the disciplines of communication, anthropology, gender studies, and visual (...) studies, as well as a photographer’s visual essay and memorial reflection, throw light on various strategies of visualization and legitimation and link these to broader socioeconomic concerns. Questions of the ethics of spectatorship, such as how to evoke empathy in the representation of individuals’ suffering without perpetuating social and economic inequalities, are explored in individual, national, and global contexts, demonstrating how disease visibility intersects with a complex nexus of health, sexuality, and global/national politics. A sensible management of visibility—an “ecology of the visible”—can be productive of more viable ways of individual and collective engagement with those who suffer. (shrink)

L’étude des pratiques de nomination offre de précieux renseignements sur les rapports de pouvoir entre les sexes et le processus de leur différenciation symbolique. Hommes et femmes ont un pouvoir de nommer qui diffère selon les sociétés. Il vient renforcer ou contrebalancer l’effet de structuration exercé par le système de filiation sur les rapports intrafamiliaux et véhicule une image plus ou moins prestigieuse de l’homme et de la femme. On peut aussi étudier l’inégalité entre les sexes en observant les différences (...) qui existent parfois dans la construction, le contenu symbolique et l’usage des prénoms masculins et féminins. Mais le nom peut aussi être une arme redoutable, y compris aux mains des femmes de sociétés patrilinéaires, dans la lutte des sexes ou la rivalité entre personnes de même sexe. Le cas limite de sociétés où l’on peut prendre un nom du sexe opposé offre l’occasion de tester la théorie performative du nom pour qui le nom fait le genre et d’apercevoir certains des facteurs selon lesquels varient les effets de genre d’un nom. (shrink)

The article focuses on the differences between Eastern and Western art, characteristics of the representation of women's images in Eastern and Western art, and aesthetic criteria regarding women's images in Eastern and Western art. The author emphasized the need to understand the image of women in Eastern and Western visual artworks in different cultural and historical contexts and concluded that studying the image of women in visual art can help one better understand regional gender paradigm differences. To understand (...) the representation of women in Eastern and Western cultures, it is necessary to first understand the differences and similarities between these two cultures in order to gain a deeper understanding of how women are portrayed in these cultures. A few of the differences that can be found between East and West include the geographical structure, the ethno-cultural colors, the social outlooks, and the aesthetic ideals of the two regions. In addition to these factors, it is also important to consider how the visual arts of the two regions differ in their methods, materials, and religious, philosophical and philosophical perspectives. Throughout the article, the author discusses these aspects in great detail, showing specific approaches as to how the female image is represented in Eastern and Western visual art traditions. As such, the article provides valuable insight into the cultural divide between East and West and how their respective artistic styles have interacted with each other. (shrink)

The outburst of antiracist protests in the USA in 2020 demonstrates how deeply this society’s present-day problems are rooted in its past. From this perspective, a study of the cultural memory of the time of the Civil War and the abolition of slavery, the key moment in the contemporary American nation formation, is especially relevant and important. The cultural frontier between the North and the South that had appeared as an outcome of differences in US history has not disappeared up (...) to now. By example of the complexity and inconsistency of the historical memory of the Civil War, slavery, and its abolition in the USA manifested in their visual representations, the article documents how through collective memory, history does not just invade modernity but is present in it, particularly in the form of memorials, monuments, museum expositions, and therefore determines the nation’s modernity to a large degree. (shrink)

Sound has given rise to many rich theoretical reflections, but when compared to the study of images, the study of sound continues to be marginalized. How is the “sense” of sound constituted and elaborated linguistically, textually, technologically, phenomenologically, and geologically, as well as acoustically? How is sound grasped as an object? Considering sound both within and beyond the scope of the human senses, contributors from literature, film, music, philosophy, anthropology, media and communication, and science and technology studies address topics that (...) range from Descartes’s resonant subject to the gendering of hearing physiology in the nineteenth century, Cold War politics and the opera _Nixon in China_, sounds from the Mediterranean, the poetics of signal processing, and the acousmatic voice in the age of MP3s. In the interpretive challenges posed by voice, noise, antinoise, whispering, near inaudibility, and silence and in the frequent noncoincidence of emission and reception, sound confronts us with what might be called its inhuman qualities—its irreducibility to meaning, to communication, to information, and even to recognition and identification. _Rey Chow_ is Anne Firor Scott Professor of Literature at Duke University. She is the author of _The Age of the World Target _and_ Modern Chinese Literary and Cultural Studies in the Age of Theory_, both_ _published by Duke University Press. _James A. Steintrager _is Professor and Chair of English at the University of California, Irvine. _ Contributors:_ Caroline Bassett, Eugenie Brinkema, Iain Chambers, Michel Chion, Rey Chow,_ _Mladen Dolar, Veit Erlmann, Evan Johnson, Christopher Lee, Mara Mills, John Mowitt, Dominic Pettman, Tara Rodgers, Nicholas Seaver, James A. Steintrager, Jonathan Sterne. (shrink)

Constructing Race on the Borders of Europe investigates the visual imagery (in painting, photography, prints, film, and design) of race construction primarily in Scandinavia and the empires of Austro-Hungary, Germany, and Russia at a time when the disciplines of ethnography and anthropology were expanding and publications on race were debating competing theories of biological, geographic, linguistic, and cultural determinants. These regions, while on the periphery of continental Europe, largely marginalized in the scholarship of nineteenth-century art history, and ignored by (...) Edward Said (Orientalism 1978), have been central locations for theorizing white identity and for containing diverse ethnic populations that have generated substantive ethnographic study and regional conflicts since the eighteenth century. This anthology explores art that engaged with ethnography and anthropology to shape visual representations of subordinate ethnic populations and material cultures, both indigenous (Roma, Sámi, Inuit, and Celts) and migrant or colonial (Muslims and Blacks), chiefly between 1850 and 1930, but extending into the early twenty-first century. The essays in this book contribute to postcolonial research by documenting colonial-style treatment of minority groups and by seeking to qualify binary systems through explorations of anomalies, complexities, and contradictions that emerge when seen from the perspective of the fine and applied arts. This book presents a range of different artistic voices that responded to ethnographic and anthropological information by producing images or objects that adopted, altered, or critiqued that information. The authors seek to uncover instances of connections and variability, to establish the fabricated nature of ethnic identity, and to challenge the certainties of racial categorization. (shrink)

There are two approaches that dominate contemporary opera performances. The first may be characterised as producing a subtle, aesthetic and stylistic means of expression. The second runs up visual, interpretation and content means to their maximum expressivity and the audience is exposed to violence, sex and experience disgust. This paper analyses specific productions by renowned European theatre and opera directors, in order to shed light on the way in which opera directors cope with the threat of terrorism, sexual violence, (...) and the impact of the mass media upon the moral belief system of modern man. Within the context of the bold productions of European theatre-makers Slovak opera theatre seems conservative, gravitating towards the aesthetic aspect of opera. (shrink)

Late nineteenth-century German anthropology had to compete for intellectual legitimacy with the established academic humanities (Geisteswissenschaften), above all history. Whereas humanists interpreted literary documents to create narratives about great civilizations, anthropologists represented and viewed objects, such as skulls or artifacts, to create what they regarded as natural scientific knowledge about so-called 'natural peoples'-colonized societies of Africa, the Pacific, and the Americas. Anthropologists thus invoked a venerable tradition that presented looking at objects as a more certain source of knowledge than reading (...) texts. Visual representations, especially of the colonized, not only allowed anthropologists allegedly objective insight into humanity but also put them in direct contact with popular audiences of ethnographic spectacles, exotic photography, and even pornographic images. Anthropologists thus sought to create a peculiar kind of anthropological vision that both differentiated them from humanists as 'objective' natural scientists but also distinguished them from the leering 'Schaulust' that they believed characterized popular consumption of exotic images. To do so they invented technologies of visual representation that eschewed the subject position figured by linear perspective. These novel optics dispensed with the leering subject posited by popular spectacles and the knowing subject posited by humanism and created an anti-humanist form of knowledge. (shrink)

In our everyday lives, we often have to blend our different roles and various selves. Sometimes, they coexist in harmony. But there are times when they come into conflict, and we have to make a significant effort to get them back in balance. This paper focuses on my scientific/artistic practice in anthropological documentary film-making. Drawing on two films I have directed, I reflect on situations where I needed to compromise my different roles and perspectives on the film set and beyond. (...) My actions and decisions have drawn on anthropological principles in documentary film-making. Through my autoethnographic reflection, I have come to the inevitable conclusion that in anthropological film-making, anthropology cannot be dominant nor submissive to storytelling. It should be the principle that guides the author (director) in achieving their focus and in creating the meaning of the story. (shrink)