, patriarchal societal systems and, more importantly, that Islamic ethics and Shari’a primarily govern those ethics ( Rahim 2013 ). Through our experience in teaching bioethics to medical residents and medical students, we have noticed that virtually all of
Abdulla Al Sayyari, Fayez Hejaili, and Faissal Shaheen
Dig Less, Catalog More
Julia A. King
material (a goal of what has been called “digital repatriation” or “digital return”; see Bell et al. 2013 and Geismar 2014 ). Indeed, the Society for American Archaeology’s Code of Ethics encourages archaeologists to relinquish what it describes as
'European Turks' and Negotiations of Neighbourliness at 'Home'
This article examines how Turks returning from Germany to Turkey self-fashion as 'orderly neighbours'. By maintaining aesthetically pleasing homes and gardens, keeping public spaces clean, and obeying rules and laws in public, return migrants believe they act as modern 'European-Turks' and exemplify good neighbourliness. Many neighbours, however, feel these actions are unnecessary or even disruptive to Turkish communities. In conversation with the burgeoning anthropology of ethics, this research explores how local, national and transnational assemblages foster reflections and debates on neighbourly ethics. Further, this study highlights anxieties about individualism, reciprocity, 'modernity' and 'European-ness' in today's Turkey.
Situating and Scaling Intimate Uncertainties in an Adriatic Harbour
This article explores how a specific pattern of relational ethics – referred to as ‘never . . . too much’ – figures as a way of coping with intimate uncertainties in close relationships. The concept of relational ethics refers to the historically embedded ways in which people live and cultivate ethical values through relations and, as such, also represents an ethnographically grounded conceptual contribution to ongoing anthropological debates on moral economy. My research unfolds ethnographic insights into three variations of the relational ethics of ‘never . . . too much’, three respective sets of social actors and relational scales: ‘never feel too much’/local women and their relationship to their marital partner; ‘never own too much’/local men and their relationship to property; ‘never settle too much’/female migrants from Russia and their relationship to the place of settlement. The article’s analysis is developed against the background of a particular spatial and temporal location – a border minority town with a history of (forced) migration, and is a contemporary focal point of migration, marginalisation by the state and patriarchy.
A Contribution to Discussions on Piety and Ethics
Drawing on an ethnographic research in some rural communities of Trabzon, Turkey, this article provides insights about the diversity of Islamic pieties and their relations to religious norms. An exploration of everyday Islamic practices in the area demonstrates how piety can take peculiar forms within which norms are both publicly and socially upheld and yet also hollowed out. Among Muslim men of ‘the Valley’ in Trabzon, piety emerges as an aggregate of reiterative practices exterior to the pious self. Highlighting the aestheticised and ritualised state of these engagements with Islam in the Turkish context allows discussion of the relationships among practices of piety, pious subjectivities, and ethics.
In this article I explore how socially engaged artistic practice draws upon hybridity as a methodological approach advancing social justice. Through the case study of Theaster Gates’s To Speculate Darkly (2010), a project commissioned by the Chipstone Foundation of Milwaukee, Wisconsin, and shown at the Milwaukee Art Museum, I consider how socially engaged practice mobilizes continually shifting notions of postcolonial hybridity to help museums make meaningful symbolic reparations toward equality and inclusivity. The research is based on interviews I conducted with Gates and with the director and the curator of the Chipstone Foundation. The article will demonstrate that, with hybridity, artists have the potential to subvert hegemonic power structures and to inspire reconciliations between museums and communities. While such reconciliations generally involve complex processes with no clear end point, the evolving concept of hybridity is an effective vehicle to foster pluralistic institutions, cultural organizations characterized by practices built upon shared authority, reciprocity, and mutual trust. Theaster Gates refers to the methodology of hybridity as ‘temple swapping’, an exchange of values between seemingly unlike groups, in his case the black church and the museum, to explore their interconnections and relational sensibilities. Temple swapping, I aim to show, is a valuable metaphor through which to examine socially engaged artistic practice and its implications for museum ethics.
All scholarly fields feed on rhetoric of praise and criticism, mostly self-praise and self-criticism. Ethnology and folklore studies are not exceptions in this, regardless of whether they constitute a single field or two separate but related ones. This essay discusses questions concerning ethnological practice and object formation, cultural theory and the theory of tradition (or the lack thereof), cultural transmission, cultural representation, and the ethics and politics of cultural ownership and repatriation. It draws on general observations as well as on work in progress. The main concern is with a discursive move: from tradition to heritage, from the ethnography of repetition and replication to cultural relativist descriptions and prescriptions of identity construction and cultural policy, from ethnography as explanation to ethnography as representation and presentation. In addition, the essay seeks to delineate other underlying tenets that appear to constitute our traditions and heritages - both as strengths and as long-term constraints and biases. Where is ethnology headed in its quest to transcend theories and practices? Less theory and more practice? More theory on practice? Or more practice on theory?
Imagining a Cosmopolitan Museology
In recent years it has been asked whether it is time to move ‘beyond the national museum’. This article takes issue with this assertion on the grounds that it misunderstands not only museums as cultural phenomenon but also the ways in which globalization, nationalism, and localism are always enmeshed and co-constitutive. The article begins by considering theories of globalization, postnationalism, and cosmopolitanism and their relevance for national museums in the European context. Specific theories of cosmopolitanism are subsequently further explored in relation to two museum examples drawn from the National Museum of Scotland in Edinburgh and the Museum of European Cultures in Berlin. In different ways both examples demonstrate the potential for museums to engage visitors with ideas of cosmopolitanism, globalization, and postnationalism by revisiting, reframing, and reinterpreting existing national collections and displays. In the process the article makes the case for the merits of a nationally situated approach to cosmopolitanism in European museums. At the same time it acknowledges some of the potential limits to such endeavors. The article concludes by imagining what a ‘cosmopolitan museology’ would offer in terms of practice, politics, and ethics.
Edited by Soheila Shahshahani
the human body a centre of attention, but on specific issues problems are such that the approval of tradition becomes crucial. This is definitely the case with the transplantation of body organs. Emerging from a tribal system with Islamic ethics, many
Multigenerational Perspectives on American Archaeology-Museum Relationships
April M. Beisaw and Penelope H. Duus
, Mark R. Harrington, and Arthur C. Parker, we can read about their struggles with the ethics of collecting Native America. Moorehead and Skinner’s 1916 Susquehanna River Expedition (SRE) serves as a case study. Figure 1 shows the locations of most