Most of the anthropology of tourism has focused either on authenticity or on the commoditization of culture. Furthermore, tourism has been looked at as a service sector and, at most, as an urban strategy. Few authors have investigated the organization of (in)formal labor in the tourism industry outside the wage form. I address this gap by looking at the living and dead labor that the production of cultural heritage is about. I argue that the tourism industry transforms long-labored spaces and existing collective use values into commodities. After illustrating this argument with sketches from the Ciutat de Mallorca (Balearic Islands, Spain), I conclude that the relation between the dead labor and the living labor that produce heritage determines people’s differential access to its commoditized outcome.
Labor as a common denominator
This article, based mostly on unpublished material, deals with the life of Andrée Salomon (1908-1985), an Alsatian Zionist militant who became a legendary figure of the French Jewish Resistance. In 1938, she organized the reception of the German children in Alsace. As chief of the social service of the Œuvre de secours aux enfants (OSE) in the non-occupied zone, she directed the rescue of the children from the Vichy camps of Gurs, Rivesaltes and Les Milles to OSE homes. She was responsible for a secret network that hid children in non-Jewish institutions and saved more than 1,500 children and adults.
English abstract (full article is in French):
This article focuses on the role of spatiality in the world of eastern Mediterranean Jews, which is viewed as a configuration of networked space. In looking at the wide range of views elicited by Joseph Pérez, a novel by Abraham Navon published in 1925, it is appropriate that spatiality be studied conjointly and comparatively as much from the point of view of the observer as the observed, in order to divest oneself of preconstructed and opposed East/West stereotypes. The publication of Joseph Pérez occurred in the midst of a significant upsurge in exotic and orientalist literary trends, which presented the “oriental” Jew as a reflection of this opposition. The study of the positioning of characters in the work of Abraham Navon, as well as in the work of the celebrated author Albert Cohen, reveals the underlying stratum of articulated spaces that differ as much in terms of the world of the authors’ imaginations as that of the transterritorial migration of these Sephardic individuals.
Thomas R. Flynn
Despite Sartre's almost proverbial rejection of Freudian psychoanalysis, Jean-Pierre Boulé places the philosopher himself on the couch in a wonderfully detailed and suggestive work. He notes that the fruit of his study may well be "to help us gain a better understanding of Sartre as an embodied sexual being and possibly demonstrate a new way of connecting biography with oeuvre." After analyzing Boulé's argument and considering the psychoanalytic method itself, I address this last claim about relating Sartre's biography and oeuvre, especially in view of the integral role assigned biography in any existentialist theory of history.
Durkheim critique et continuateur de Quetelet
Le premier chapitre du livre III du Suicide, ‘L’élément social du suicide’ (incontestablement le coeur de l’ouvrage selon son auteur), commence par le résumé de l’explication qu’Émile Durkheim vient de donner (dans le livre II) des régularités du phénomène dont il s’occupe. Ce résumé est suivi d’une digression sur Adolphe Quetelet et son oeuvre à laquelle le lecteur averti (contemporain de Durkheim) s’attend depuis déjà plusieurs pages.
Marc Ellis is one of the few Jewish American intellectuals who supports the Palestinian struggle against Israeli domination and oppression. His writings have been highly praised by progressive intellectuals like Noam Chomsky and by the late Edward Said, although his work is ignored or decried by organized Jewish community leaders and most academics in the U.S. Ellis's oeuvre is clearly in the Jewish theologian tradition; however he is a singular and innovative thinker who is known for crossing interdisciplinary (among other) boundaries.
A Burgeoning Field of Research
Since the 1890s early film pioneers used their cinematographic oeuvre for educational and informative purposes. As a result not only did film production companies regard schools as a lucrative emerging market, but progressive teachers also welcomed this new resource for teaching and learning. Soon a professional infrastructure was created and included several teachers’ associations, film catalogues, journals, and conferences dealing with educational films and their use in teaching and the education sector.
À l’origine de ces quelques éléments de réflexion sur les lectures américaines d’Alain Corbin, il y a le souci de percer une énigme et, plus encore, de comprendre un malentendu: ces deux objectifs offrent une belle occasion de saisir les modes sur lesquels sont appropriés les travaux des historiens français et, audelà, d’éclairer certains points nodaux de l’oeuvre de Corbin. La réception américaine sera donc surtout ici prétexte à une entrée un peu décalée dans l’imposant massif corbinien.
Robert Parkin, W. S. F. Pickering and Simonetta Falasca-Zamponi
Robert Hertz. OEuvres publiées: édition critique, ed. Cyril Isnart, Paris: Classiques Garniers, 2014, 466 pp. Review by Robert Parkin
Matthieu Béra. Emile Durkheim à Bordeaux (1887–1902), Bordeaux: Éditions Confluences, 2014, 135 pp. Review by W. S. F. Pickering
Alexander Riley, The Social Thought of Émile Durkheim, Los Angeles and London: Sage, 2015, xi + 263 pp. Review by W. S. F. Pickering
Sondra Hausner (ed.), Durkheim in Dialogue: A Centenary Celebration of The Elementary Forms of Religious Life, New York and Oxford: Berghahn, 2013, 267 pp. Review by Simonetta Falasca-Zamponi
In 1992, I published Sartre médiatique: La place de l’interview dans son oeuvre,1 a study of Sartre’s interviews and how they complement his written works. In discussing the 1970s, especially after the onset of Sartre’s partial blindness and his avowal to Michel Contat in the famous interview “Autoportrait à soixante-dix ans” that he could no longer write,2 it was apparent that Sartre had intentionally committed himself to what he was to call “plural thought,” first with one or two interviewers who were specialists in his work, and later and most significantly with Benny Lévy, a positive choice rather than a necessary substitute.