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Zusammenfassung: A Collection of Creative Anthropologies brings together a series of creative work of anthropologists who share the art of writing that arises from 'ordinary' engagement and reveals its potential for the reimagining of anthropological futures and alternative worlds. This is a collection of creative anthropology anchored in experimentality and encouragement. A book that defies imaginaries of academic convention through the cultivation of a mundus imaginalis requiring moments of pause, of introspection, and of discomfort. This centring of creativity at the heart of anthropology subtly conveys how the complex ethical and moral issues around fieldwork and anthropological theorising can be reflected on through writing otherwise, in creative spaces such as this book. A Collection of Creative Anthropologies fits the current call for radical revisions of the academic canon in anthropology, and the social sciences and humanities more broadly. Eva van Roekel is an anthropologist working at Vrije Universiteit Amsterdam. Her work focuses on ethics and violence in Latin America, particularly Argentina and Venezuela. Her scholarly work appeared in various anthropological and regional journals and her monograph Phenomenal Justice (RUP) engages with retributive justice through an affective lens. Feeling unfulfilled with academic genres, she started experimenting with creative writing and filmmaking, which resulted in various short story publications and documentaries screened at international film festivals. Together with Alisse Waterston and Fiona Murphy they launched the Ethnographic Salon in 2022, a novel space to perform creative anthropologies. She is also one of the co-founders of the EASA Creative Anthropologies Network (CAN). Fiona Murphy is an anthropologist based in SALIS in Dublin City University. As an anthropologist of displacement, she works with Stolen Generations in Australia and people seeking asylum and refuge in Ireland, the United Kingdom and Turkey. She has a particular passion for creative and public anthropologies and is always interested in experimenting with new forms and genres. Alongside of her scholarly work, she has published shorts stories, poetry, and creative non-fiction across a number of different forums. She co-organised the successful Ethnographic Salon with Alisse Waterston and Eva van Roekel at EASA2022 in Belfast, which showcased creative work by anthropologists. She is one of the co-founders of the EASA Creative Anthropologies Network (CAN)
Creativity and play erupt in the most solemn of everyday worlds as individuals reshape traditional forms in the light of changing historical circumstances. In this lively volume, fourteen distinguished anthropologists explore the life of creativity in social life across the globe and within the study of ethnography itself. Contributors include Barbara A. Babcock, Edward M. Bruner, James W. Fernandez, Don Handelman, Smadar Lavie, José E. Limon, Barbara Myerhoff, Kirin Narayan, Renato Rosaldo, Richard Schechner, Edward L. Schieffelin, Marjorie Shostak, Anna Lowenhaupt Tsing, and Edith Turner.
How does a group of people, brought together because of their diverse skills and professional knowledge, set out to be ‘creative’? How are ongoing tensions between beauty, fame, and money resolved? In The Business of Creativity, Brian Moeran, a leading scholar and writer on the creative industries, takes the sacred relic of creativity out of the crypt and airs it in the ethnographic alley. In contrast to the persistent image of creativity as the spontaneous inspiration of a gifted individual, Moeran shows how creativity emerges from collaborative engagements among people, genres, institutions, materials and technologies. He alternates thick description of work in fashion, advertising, and ceramic art with theoretical innovations that shed new light on the aesthetic, symbolic, and economic dimensions of creativity and the production of worth.
"The Anthropology of Stuff" is part of a new Series dedicated to innovative, unconventional ways to connect undergraduate students and their lived concerns about our social world to the power of social science ideas and evidence. Our goal with the project is to help spark social science imaginations and in doing so, new avenues for meaningful thought and action. Each "Stuff" title is a short (100 page) "mini text" illuminating for students the network of people and activities that create their material world. Lycra describes the development of a specific fabric, but in the process provides students with rare insights into U.S. corporate history, the changing image of women in America, and how a seemingly doomed product came to occupy a position never imagined by its inventors and contained in the wardrobe of virtually every American. And it will generate lively discussion of the story of the relationship between technology, science and society over the past half a century.
A bold new synthesis of paleontology, archaeology, genetics, and anthropology that overturns misconceptions about race, war and peace, and human nature itself, answering an age-old question: What made humans so exceptional among all the species on Earth? Creativity. It is the secret of what makes humans special, hiding in plain sight. Agustín Fuentes argues that your child's finger painting comes essentially from the same place as creativity in hunting and gathering millions of years ago, and throughout history in making war and peace, in intimate relationships, in shaping the planet, in our communities, and in all of art, religion, and even science. It requires imagination and collaboration. Every poet has her muse; every engineer, an architect; every politician, a constituency. The manner of the collaborations varies widely, but successful collaboration is inseparable from imagination, and it brought us everything from knives and hot meals to iPhones and interstellar spacecraft. Weaving fascinating stories of our ancient ancestors' creativity, Fuentes finds the patterns that match modern behavior in humans and animals. This key quality has propelled the evolutionary development of our bodies, minds, and cultures, both for good and for bad. It's not the drive to reproduce; nor competition for mates, or resources, or power; nor our propensity for caring for one another that have separated us out from all other creatures. As Fuentes concludes, to make something lasting and useful today you need to understand the nature of your collaboration with others, what imagination can and can't accomplish, and, finally, just how completely our creativity is responsible for the world we live in. Agustín Fuentes's resounding multimillion-year perspective will inspire readers—and spark all kinds of creativity.
The baseball glove is a ubiquitous item, a crucial piece of equipment in the game of baseball, and it offers the opportunity to examine the production of material culture and social practice at numerous levels. Where and how is a glove made, and how does its manufacture square with the narratives surrounding its place in American cultural life? What are the myths, superstitions, and beliefs surrounding its acquisition, care, use, and significance? How does a glove function as the center of a web of cultural practices that illustrate how individuals relate to a consumer good as a symbol of memory, personal narrative, and national identity? How do the manufacturers of baseball gloves draw upon, promote, and in some sense create these practices? How do these practices and meanings change in other national and cultural contexts? The Baseball Glove offers students the opportunity to examine these questions in an engagingly written and illustrated book that promotes hands-on interaction with a quintessential item of material culture. At the same time, the book gives students the space for critical self-reflection about the place of material goods like sporting equipment in their lives, and it provides the chance to learn different methodological approaches to studying everyday objects.
Alcohol: Social Drinking in Cultural Context critically examines alcohol use across cultures and through time. This short text is a framework for students to self-consciously examine their beliefs about and use of alcohol, and a companion text for teaching the primary concepts of anthropology to first-or second year college students.
"Produced by members of the Centre for Imaginative Ethnography, this collection introduces the idea of an imaginative and creative approach to anthropological inquiry, one that is collaborative, open-ended, embodied, affective, and experimental. Rather than structuring the book around traditional methods like interviewing, participant observation, and documentary research, the authors organize their thoughts around different methodologies--sensing, walking, writing, performing, and recording. As well, innovative, practical exercises are included that allow ethnographers to not just 'talk the talk', but also 'walk the walk' so they can deepen, complicate, and extend ethnographic inquiry. A list of additional resources at the end of each chapter provide rich support for those who want to pursue more imaginative and creative methodologies."--
Anthropology is the study of all humans in all times in all places. But it is so much more than that. "Anthropology requires strength, valor, and courage," Nancy Scheper-Hughes noted. "Pierre Bourdieu called anthropology a combat sport, an extreme sport as well as a tough and rigorous discipline. ... It teaches students not to be afraid of getting one's hands dirty, to get down in the dirt, and to commit yourself, body and mind. Susan Sontag called anthropology a "heroic" profession." What is the payoff for this heroic journey? You will find ideas that can carry you across rivers of doubt and over mountains of fear to find the the light and life of places forgotten. Real anthropology cannot be contained in a book. You have to go out and feel the world's jagged edges, wipe its dust from your brow, and at times, leave your blood in its soil. In this unique book, Dr. Michael Wesch shares many of his own adventures of being an anthropologist and what the science of human beings can tell us about the art of being human. This special first draft edition is a loose framework for more and more complete future chapters and writings. It serves as a companion to anth101.com, a free and open resource for instructors of cultural anthropology. This 2018 text is a revision of the "first draft edition" from 2017 and includes 7 new chapters.
The chapters in this captivating volume demonstrate the importance and power of design and the ubiquitous and forceful effects it has on human life within the study of anthropology. The scholars explore the interactions between anthropology and design through a cross-disciplinary approach, and while their approaches vary in how they specifically consider design, they are all centered around the design-and-anthropology relationship. The chapters look at anthropology for design, in which anthropological methods and concepts are mobilized in the design process; anthropology of design, in which design is positioned as an object of ethnographic inquiry and critique; and design for anthropology, in which anthropologists borrow concepts and practices from design to enhance traditional ethnographic forms. Collectively, the chapters argue that bringing design and anthropology together can transform both fields in more than one way and that to tease out the implications of using design to reimagine ethnography—and of using ethnography to reimagine design—we need to consider the historical specificity of their entanglements.