The Sorrow Of The Lonely And The Burning Of The Dancers

This classic ethnography, now in its second edition, describes the traditional way of life of the Kaluli, a tropical forest people of Papua New Guinea. The book takes as its focus the nostalgic and violent Gisalo ceremony, one of the most remarkable performances in the anthropological literature. Tracking the major symbolic and emotional themes of the ceremony to their sources in everyday Kaluli life, Schieffelin shows how the central values and passions of Kaluli experience are governed by the basic forms of social reciprocity. However, Gisaro reveals that social reciprocity is not limited to the dynamics of transaction, obligation and alliance. It emerges, rather, as a mode of symbolic action and performative form, embodying a cultural scenario which shapes Kaluli emotional experience and moral sensibility and permeates their understanding of the human condition.

Using cultural anthropology to analyse debates that reverberate throughout the human sciences, this text looks at cultural anthropology's past accomplishments, its current predicaments, future direction, and its insights for other fields of study.

Early in its history, anthropology was a visual as well as verbal discipline. But as time passed, visually oriented professionals became a minority among their colleagues, and most anthropologists used written words rather than audiovisual modes as their professional means of communication. Today, however, contemporary electronic and interactive media once more place visual anthropologists and anthropologically oriented artists within the mainstream. Digital media, small-sized and easy-to-use equipment, and the Internet, with its interactive and public forum websites, democratize roles once relegated to highly trained professionals alone. However, having access to a good set of tools does not guarantee accurate and reliable work. Visual anthropology involves much more than media alone. This book presents visual anthropology as a work-in-progress, open to the myriad innovations that the new audiovisual communications technologies bring to the field. It is intended to aid in contextualizing, explaining, and humanizing the storehouse of visual knowledge that university students and general readers now encounter, and to help inform them about how these new media tools can be used for intellectually and socially beneficial purposes. Concentrating on documentary photography and ethnographic film, as well as lesser-known areas of study and presentation including dance, painting, architecture, archaeology, and primate research, the book's fifteen contributors feature populations living on all of the world's continents as well as within the United States. The final chapter gives readers practical advice about how to use the most current digital and interactive technologies to present research findings.

Why do we have children and what do we raise them for? Does the proliferation of depictions of suffering in the media enhance, or endanger, compassion? How do we live and die well in the extended periods of debility which old age now threatens? Why and how should we grieve for the dead? And how should we properly remember other grief and grievances? In addressing such questions, the Christian imagination of human life has been powerfully shaped by the imagination of Christ's life Christs conception, birth, suffering, death, and burial have been subjects of profound attention in Christian thought, just as they are moments of special interest and concern in each and every human life. However, they are also sites of contention and controversy, where what it is to be human is discovered, constructed, and contested. Conception, birth, suffering, burial, and death are occasions, in other words, for profound and continuing questioning regarding the meaning of human life, as controversies to do with IVF, abortion, euthanasia, and the use of bodies and body parts post mortem, indicate. In The Ethics of Everyday Life, Michael Banner argues that moral theology must reconceive its nature and tasks if it is not only to articulate its own account of human being, but also to enter into constructive contention with other accounts. In particular, it must be willing to learn from and engage with social anthropology if it is to offer powerful and plausible portrayals of the moral life and answers to the questions which trouble modernity. Drawing in wide-ranging fashion from social anthropology and from Christian thought and practice from many periods, and influenced especially by his engagement in public policy matters including as a member of the UK's Human Tissue Authority, Banner develops the outlines of an everyday ethics, stretching from before the cradle to after the grave.

In Dangerous Voices Holst-Warhaft investigates the power and meaning of the ancient lament, especially women's mourning of the dead, and sets out to discover why legislation was introduced to curb these laments in antiquity. An investigation of laments ranging from New Guinea to Greece suggests that this essentially female art form gave women considerable power over the rituals of death. The threat they posed to the Greek state caused them to be appropriated by male writers including the tragedians. Holst-Warhaft argues that the loss of the traditional lament in Greece and other countries not only deprives women of their traditional control over the rituals of death but leaves all mourners impoverished.

Written by leading scholars in the field, this comprehensive and readable resource gives anthropology students a unique guide to the ideas, arguments and history of the discipline. The fully revised and expanded second edition reflects major changes in anthropology in the past decade.

This Encyclopedia provides description and analysis of the terms, concepts and issues of social and cultural anthropology. International in authorship and coverage, this accessible work is fully indexed and cross-referenced.

Based on extensive ethnographic fieldwork in New York and Dakar, this book explores the Senegalese dance-rhythms Sabar from the research position of a dance student. It features a comparative analysis of the pedagogical techniques used in dance classes in New York and Dakar, which in turn shed light on different aesthetics and understandings of dance, as well as different ways of learning, in each context. Pointing to a loose network of teachers and students who travel between New York and Dakar around the practice of West African dance forms, the author discusses how this movement is maintained, what role the imagination plays in mobilizing participants and how the ‘cultural flow’ of the dances is ‘punctuated’ by national borders and socio-economic relationships. She explores the different meanings articulated around Sabar’s transatlantic movement and examines how the dance floor provides the grounds for contested understandings, socio-economic relationships and broader discourses to be re-choreographed in each setting.