Classic conditions of fieldwork research, to which anthropology remains committed, are difficult to establish today within far-reaching projects of neoliberal economy, governance and philanthropy. The forms of collaboration on which these projects insist, and those that ethnography encourages for its own research purposes, must be reconciled. On the bargains or adjustments that anthropology makes with neoliberal projects, within which it establishes scenes of fieldwork, depends its capacity to produce critique - its primary agenda since the 1980s. These issues are what are at stake in the widespread current discussions of, and hopes for, an 'engaged' anthropology.
Into the New Century
George E. Marcus
Ethnographic engagements with global elites
Paul Robert Gilbert and Jessica Sklair
when one’s ethnographic subjects belong to a globally mobile, wealthy, and politically influential demographic. Indeed, in recent decades there has been something of a turn away from critique in anthropology and neighboring disciplines. Rather than
The Concept of Secular Philosophical Grounding
Jaan S. Islam
being universal. In this article I critique the moral explicit and implicit justifications held by many of the positions that cosmopolitan philosophers take. The concept of moral dictation and assumed inherent superiority – that I demonstrate as
An appreciative critique of police surveillance
will explain what the detective meant by this and how this connects to critiques of present-day policing. Issues of (policing at a) distance Questions of distance versus proximity or aloofness versus more intimate involvement are central not only
Sketch of a Materialist Ethics
Translator : Marieke Mueller and Kate Kirkpatrick
‘force of things’ always acts through men? It is just this failure of analysis, when it tries to bring everything down to one level, which reveals history’s true milieu.] Maurice Merleau-Ponty, Signes 1 The status of critique as practical experience
Paul Robert Gilbert
, bulletproof system beloved as a target of critique” ( Winthereik and Jensen 2017: 252–262 ). To treat development as the unfolding of a “concealed power” ( Mosse and Lewis 2006: 15 ; see also Mosse 2013: 229 ; Yarrow and Venkatesan 2012: 7 ) vested in the
When published, Sartre's Critique of Dialectical Reason appeared to be a major intellectual and political event, no less than a Kantian effort to found Marxism, with far-reaching theoretical and political consequences. Claude Levi-Strauss devoted a course to studying it, and debated Sartre's main points in The Savage Mind; Andre Gorz devoted a major article to explaining its importance and key concepts in New Left Review. Many analysts of the May, 1968 events in Paris claimed that they were anticipated by the Critique. But the book has had a very quiet 50th anniversary: it is now clear that the project has had little lasting effect beyond a narrow band of specialists. It has not entered the wider culture, has not been picked up beyond Sartre scholars except by one or two philosophically interested social scientists and feminist thinkers; and after the energy of 1968 wore off the Critique faded as well from the radar of political activists. This article asks and attempts to answer the perplexing question: Why? What became of the great promise of Sartre's project?
Adeel Hamza and John Gannon
In 1926, Marcel Mauss published an article entitled ‘Critique interne de la “Légende d’Abraham”’ in the Revue des études juives . He ‘gifted’ it to an old teacher, Israël Lévi, Grand Rabbi of France and editor of the Revue , in celebration of his
Israeli Orthodox Women Filmmakers
Valeria Seigelsheifer and Tova Hartman
Over the past two decades, Israeli Orthodox Jewish women filmmakers have used film to speak in a public voice about various subjects that were previously taboo. Although there are aspects of Orthodoxy to which these filmmakers object, they do so as ‘devoted resisters’. Rather than expressing heretical opposition, the women stay committed to Orthodoxy precisely because they are able to use filmmaking to resist. In their negotiations of voice used to ‘justify’ their decision to become filmmakers, the women position themselves as ‘accidental’ filmmakers, thereby remaining within Orthodoxy while critiquing it through their films. Cultural resistance in this case is not carried out as defiance to Orthodox Judaism but rather out of a relationship with it, featuring a form of resistance that insists upon devotion to multiple commitments.
degradation increases amid the growth of environmental attention and concern.” The purpose of this project is to revisit an old concept (ideology) and method (ideology critique) that are fruitful for explaining why society continues to degrade the environment