In the troubled area of “Assamese modernity” studies, always caught in the shadow of the Bengal Renaissance and its confident march toward cultural reawakening, the American Baptist Missionary is an important figure “looking” at the people, culture, and land in ways that are crucially different from the British. For this article's argument, it is the account produced by British administrator William Robinson, along with the letter he wrote on the Assamese language establishing it as a dialect of the Bengali, that bear examination alongside the writings of the Americans and, most specifically, Nathan Brown and Miles Bronson, who were best equipped and therefore most convincing and articulate in a counter effort to prove the separateness of the Assamese language. I look back at this corpus of writings that constitute an early debate on the identity of the Assamese and suggest that Assam's long history of resistant cultural politics and its peculiarly schizophrenic identity-making process may be traced to this early polarization of discourse between the British and Americans. While it might be too reductionist to claim that Assamese modernity is a legacy of the Americans, unlike the largely British inspired Bengal Renaissance, it is still worthwhile to examine the legacy of American Baptist missionaries in order to understand and distinguish Assamese modernity from the Bengali.
The American Baptist Missionary and Assamese Modernity
Materializing Affinity in Japanese Foster and Adoptive Care
Kathryn E. Goldfarb
good for each child. Here, look at this photograph of an adoptive family—see, over time their faces come to look alike [ dandan, kao wa nitekuru ] don’t they? Please look here.” He paused on a photograph of a couple with a young child and then moved
Trapped Mobilities and Adventure in Morocco
This article examines how “irregular” migrants from West and Central Africa make sense of their trapped mobility in Morocco: for many, crossing into Europe has become almost impossible, returning to home countries “empty-handed” a shameful option, and staying very difficult in the face of repeated infringement of their rights. I explore the limits of contemporary depictions of a “migration crisis” that portray migrants south of the Mediterranean Sea as simply en route to Europe and fail to engage with (post)colonial entanglements. The article recalibrates the examinationof migrants’ lived experiences of stasis and mobility by exploring the emic notion of “adventure” among migrants “looking for their lives.” A focus on how migrants articulate their own (im)mobility further exposes and defies the pitfalls of abstract concepts such as “transit migration,” which is misleading in its implication of a fixed destination.
Fieldwork, Biography, and Authorship in Southwest China and Beyond
to interpret Bahmat’s thought, which, as I learned in follow-up text messages, were not fully clear to him either. But a simple look at the etymology of meili , which is a compound work like many Mandarin terms, sheds some poignant light on his
Jean-Paul Sartre's account of the Look in Being and Nothingness is not straightforward and many conflicting interpretations have arisen due to apparent contradictions in Sartre's own writing. The Look, for Sartre, demonstrates how the self gains thematic awareness of the body, forming a public and self-conscious sense of how the body appears to others and, furthermore, illustrates affective and social aspects of embodied being. In this article, I will critically explore Sartre's oft-cited voyeur vignette in order to provide a coherent account of the Look and to illustrate the significance of intersubjectivity and self-consciousness in Sartre's work. Through considering Sartre's voyeur vignette and other examples of reflective self-consciousness, this article will examine epistemological, self-evaluative and ontological concerns in the constitution of reflective self-consciousness. It will be contended that Sartre's accounts of the Look and reflective self-consciousness within social relations can provide insight into the intersubjective nature of the shaping of the body and the significance of self-presentation within the social realm.
At the center of his ontological treatise, Being and Nothingness, in a section titled "The Look," Sartre creates a small narrative moment of dubious virtue in which he is able to resolve one of the truly vexing problems of phenomenology up to his time. It is the problem of the Other. How is it that one can apprehend the Other as subject? Previously, philosophy had sought to understand the other through reflection or attribution (and Sartre deals in particular with the Hegelian and Heideggerian accounts). But to regard the other as a reflection of oneself ends in an obvious solipsism: all others would be only reflections of oneself. To define the other as a subject simply because one saw a person standing there reduces subjectivity irretrievably to object status. And to attribute subjectivity to the other as an extension of experience with oneself as a subject renders one a source of mere doctrine through which to see others. Yet to proclaim the other to be unknowable as a subject leaves no basis upon which to speak about personal and social relations. I will argue that because Sartre's account of the look, his vision of the interpersonal as a subject-object relation, is couched within the realm of the visible, it takes the form of conflict. It will be my contention that being-for-others takes on a different character when articulated in terms of the spoken or "audible." And this difference will have certain socio-political ramifications.
A Comprehensive Perspective of African American Male Youth
Jamal A. Cooks
Kirkland C. Vaughans and Warren Spielberg, eds. 2014. The Psychology of Black Boys and Adolescents. Santa Barbara, CA: Praeger. 2 Volumes. 615 pp. ISBN 978-0-313-38198-0 (hb) 978-0-313-38199-7 (e-bk)
Lacan and the Satirists
This article investigates the applicability of certain aspects of Lacanian psychoanalytic theory to the study of visual satire and/or caricature. Lacan’s treatment of the phenomenon of visual anamorphosis can provide a fruitful new way of thinking about the art of caricature. The visual exaggerations and distortions central to the art of caricature function as they do, as works of social or political satire, by virtue of the extent to which they expose the psychological emptiness or hollowness (castration) which inheres in all human social or symbolic activity. This argument is then applied to the political circumstances prevailing in late Georgian England: in particular, the visual satirical treatment devoted to the nature and status of the monarchy during this period is examined in the light of foregoing arguments.
Internal Social Research at the IDF
Yehudith Sher and Hadass Ben-Eliyahu
In this article we investigate the unique position of intra-military social research units in the Israeli Defense Forces (IDF). These units, associated with the IDF's Behavioral Sciences Department, have conducted social research on a vast range of topics for more than five decades. By analyzing developments in the studies on reserve service over the years, we have identified three phases of research. Each phase reflects changes in research questions, theoretical concepts, and definitions of issues to be explored. According to our analysis, researches conducted during the first two phases have similar characteristics and derive from the same theoretical discipline and research paradigm. It is mainly during the third phase that theoretical and paradigmatic changes are evident. The researches carried out in this most recent phase are rooted in critical episte- mology, which enables us to discuss the implications of critical intra-social research within the military and in comparison to the academic world.
An Argument from the Aesthetic Philosophy of Alexander Gottlieb Baumgarten
Within museum studies, there has been a recent interest in engaging with objects and their material effects as something other than vehicles for human cultural meaning. This article contributes to this interest by offering a philosophical argument for the value of close sensory engagement with physical things, an argument found in the works of the eighteenth-century German philosopher Alexander Gottlieb Baumgarten (1714–1762), who is famous for fathering the modern philosophical discourse on aesthetics. Baumgarten outlines what he terms sensate thinking, defined as an analogue to rational thinking, and insists that this form of thinking can be analyzed and sharpened according to its own rules. I discuss how Baumgarten’s aesthetics might be useful for how the curator approaches objects in exhibitions and for understanding how visitors’ sensory engagement with the objects can be important beyond the deciphering of historical narratives and conceptual meanings.