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Giving and Taking without Reciprocity

Conversations in South India and the Anthropology of Ethics

Soumhya Venkatesan

This article constitutes an intervention in the anthropology of ethics through a discussion of conversations about instances of religious alms/charitable giving where there is no expectation of direct reciprocity. I argue that this kind of ‘ethical

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Giving voice to heritage

A virtual case study

Máiréad Nic Craith, Ursula Böser, and Ashvin Devasundaram

This essay focuses on changing discourses of heritage with reference to concepts of place broadly defined. Our virtual case study is Wim Wenders' series of documentaries entitled . In this series of 3D films, Wenders invited five other directors to give voice to their favourite buildings. The directors chose classic examples of Western heritage located primarily in European cities. Our contribution explores the human constructions assigned to these buildings and the implications of the anthropomorphisation of buildings for the concept of heritage. With reference to categories of tangible and intangible heritage, we ask whether giving voice to material artefacts challenges the material dominance of architecture for heritage, deepening our sense of place and constituting a step forward for a more dialogical approach to heritage generally. We query the extent to which this filmic anthology reinforces a hegemonic authorised heritage discourse or delivers a postmodern version of ‘spirit of place’. We ask whether this filmic adventure in 3D could effectively generate a new and (re)newed sense of place in other heritage contexts. Our hypothesis is set in the framework of various ICOMOS and UNESCO international charters.

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Giving them the slip

Israeli employers' strategic falsification of pay slips to disguise the violation of Thai farmworkers' right to the minimum wage

Matan Kaminer

In a 2013 Facebook post, Israel’s then Minister of Economy Naftali Bennett (2013; my translation) wrote: 'If an Israeli employer knows that he has to pay every worker the minimum wage, give him one day off a week, pay overtime and produce pay slips – he just won’t employ infiltrators and foreign workers. He will choose an Israeli worker. This is how we dry the main fuel which sets fire to the problem of infiltrators in south Tel Aviv and across the country, and at the same time do justice to workers who are exploited in substandard conditions.' Bennett posits the equal protections of labour law as primarily informed not by a universalist concern for the welfare of all workers but by a desire to exclude both documented ‘foreign workers’ and undocumented ‘infiltrators’ from the labour market. A document – the pay slip – serves in Bennett’s plan as an icon of legality and a tool in the hands of this policy of exclusion through egalitarianism.

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Giving Aid Inside the Home

Humanitarian House Visits, Performative Refugeehood, and Social Control of Syrians in Jordan

Ann-Christin Wagner

that in anthropological study, hospitality has often been overlooked not only because of its proximity to gift-giving—itself a much more famous concept—but also because of its double nature as a theme and the precondition to conducting fieldwork

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“Give Me Back My Son!”

Eleanor of Aquitaine, Emotion Talk, and the Gendering of Political Rhetoric

Linda E. Mitchell

: “Give me back my son, man of God, if you are a man of God and not a man of blood! If you are sluggish in the freeing of my son, may the Highest exact his blood from your hand…. Truly, you should offer your life for him, you who until now have not wanted

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“China gives and China takes”

African traders and the nondocumenting states

Shanshan Lan

business in the shop, with the African giving instructions behind the scenes. To a certain extent, interethnic collaborations contest the local state’s regulatory power by creating a liminal space between the legal and the illegal for the daily survival of

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Annika Strauss

’s instructions, as the sculptor condenses the experience through concentrating on its most salient aspects in one single image. The sculptor is not supposed to use words to mould the scene, only touch and mirror-imaging (e.g. for giving the statues their facial

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'To Give You a Future and a Hope' (Jeremiah 29:11)

Leo Baeck College, Centre for Jewish Education through the Retrospectoscope – David Goldstein Memorial Lecture, 16 June 2005

Jonathan Magonet

It is a great privilege to have been invited to give this lecture in memory of David Goldstein, zikhrono livrakha. He was one of the great scholars and teachers of our movement and he died tragically young. I recall in particular a series of lectures he gave at the College on the Golden Age of Spain. In one of the earlier ones he noted that while at school he had been taught about the so-called 'dark ages' in Europe when there was little in the way of cultural development. The only exception, he had been taught, was the single shining light provided by the Venerable Bede. It was only in later life that he discovered that at the same time when Christian Europe was 'in the dark', Islamic Spain was going through its 'golden age' with an extraordinary flourishing culture that nourishes us till today. That same kind of cultural narrowness and ignorance seems to be no less a problem today when considering the Muslim presence in Europe, and I am always pleased to use that illustration to challenge people to think more broadly.

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‘As a Stranger Give it Welcome’

Foreignness and Wonder in Jacobean London

Lois Potter

The two early modern meanings of the word ‘stranger’ (someone one does not know; a foreigner) have become separated in modern English. This article looks at attitudes to the ‘stranger’ both as pathetic victim and as someone outside Anglophone language and culture, with special reference to the arrival of a Scottish king and his followers in 1603–04. Horatio’s ‘wondrous strange’ (here, referring to the apparent ubiquity of the Ghost’s voice) is as metatheatrical as Hamlet’s later jokey comment on ‘this fellow in the cellarage’. The language of ‘wonder’, a particularly Jacobean phenomenon, suggests that intense artistic experiences, like experiences of shock and horror, can make the spectator or listener – as Milton put it – ‘marble with too much conceiving’.

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Larry Tabick

My choice of the first-person plural pronoun in the title of this article is quite deliberate. It is based on the common notion that all Jews were present at Mount Sinai at the giving of the Ten Commandments, not only those who were alive at that