This article examines the discourse surrounding the circulation of legal information in urban Gambia. It argues that ideas of information sharing suggest that Gambian law is fundamentally opaque, not simply in that it is not transparent but that it is only partially known. Drawing on the insights of Marilyn Strathern and other 'Melanesianists', the article further proposes that information sharing is a kind of relation and that opacity is a way of cutting relations. This in turn presents a way of apprehending African law that differs from the current emphasis on illegality and sovereignty in Africanist legal anthropology and focuses instead on emendation as a modality of engaging the law.
Reading between Opaque Narrative and Transparent Text
that is burning? How can it make itself apparent to me - whatever that ‘it’ is? The torch of ember is an example of opacity. It is a puzzling knowability that stands in-between opacity and transparency. 1 It could be about to become fire and turn
on opacity and Denise Ferreira da Silva's (2009) work on the racial and gendered parameters of recognition as a way to think about the possibilities of resisting the state's injunction toward transparency, visual and otherwise. McDonald's, Stanley
Fear of Jihadism and the Terrorist Threat in Southern Mali
everywhere and evildoers potentially hide in people’s midst, public moral outrage is elicited by moral opacity. In effect, moral outrage takes the form of a confrontational interpretative quest that brings forth demands to expose subjects’ moral makeup to a
Intellectual Disability and the Challenge of Opacity
‘opacity’ centers around particular small-scale societies that appear to deny, disable, or prohibit the possibility of having knowledge about what is going on in the minds of other people. 2 The Urapmin of Papua New Guinea are at the heart of the debate
Research on Israeli nuclear weapons policy is seen as the classic case of conflict between security constraints and the academic ethos of openness. However, the 'ambiguity' of Israel's declared policy has eroded considerably over time, first to 'opacity' and now to simple non-acknowledgement. Furthermore, there have been vast changes in strategic circumstances: the initial rationale as a nuclear deterrent to conventional attack has been eclipsed by deterrence of other weapons of mass destruction. This is potentially a more promising platform for arms control agreements. The changes also call into question the need for the continued extension of censorship into academic research on the topic.
Infrastructures of Certainty and Doubt
Matthew Carey and Morten Axel Pedersen
Debates surrounding notions of certainty and conviction and, conversely, of doubt, uncertainty and opacity have proved to be some of the liveliest and most anthropologically productive of recent years. The contention that a kernel of
Theorizing dispossession and mirroring conspiracy in the Republic of Georgia
Katrine Bendtsen Gotfredsen
investigate the elements of this paradox of opacity and clarity—conspiracy and theory. Much like suspicious public attitudes to political and economic elites in other post-Soviet settings (see, e.g., Nazpary 2002 ; Ries 2002 ), speculations about how the
Engaging with the Politics of Care and Refugees’ Dwelling Practices in the Italian Urban Context
Camillo Boano and Giovanna Astolfo
understanding of the complex entanglements of humanitarian dilemmas, refugees’ struggle for recognition and their desire for opacity. While it is impossible to completely avoid the use of terms such as integration and hospitality, given that they are deeply
Georges Franju's Eyes Without a Face
This essay proposes a reading of Georges Franju's Eyes Without a Face that focuses on the cultural and philosophical contexts of the face, its destruction, and imagined reconstruction in postwar France. The film foregrounds the protagonist's lack of a face and the effort to restore it into a cinematic argument heralding the ruin of natural beauty and genuine face-to-face relations, an approach that in turn theorizes the postwar world as premised on ethical and aesthetic opacity. By considering contemporary treatments of the face, as well as the representations of injury and violence, the essay argues that at stake in the political and aesthetic judgments proposed by the failed face transplants in the film was a concern with the technological reconstruction of a natural and pure state, a reconstruction that was now seen as impossible and could have devastating consequences at the ethical and aesthetic levels.