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La fabrique du comique 喜剧的工厂
Q4 ANTHROPOLOGY Pub Date : 2019-01-01 DOI: 10.7202/1070476ar
Céline Spinelli
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引用次数: 0
Marie Baltazar. Du bruit à la musique. Devenir organiste (Paris, Éditions de la Maison des sciences de l’homme, 2019, Pp. 273. Coll. « Ethnologie de la France et des mondes contemporains », 38. ISBN: 978-2-7351-2535-7). 玛丽·巴尔。从噪音到音乐。成为风琴师(巴黎,editions de la Maison des sciences de l ' homme, 2019,第273页)。《法国和当代世界的民族学》,38。ISBN: 978-2-7351-2535-7)。
Q4 ANTHROPOLOGY Pub Date : 2019-01-01 DOI: 10.7202/1070479ar
E. Bernier
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引用次数: 0
From tangible to intangible heritage 从物质遗产到非物质遗产
Q4 ANTHROPOLOGY Pub Date : 2019-01-01 DOI: 10.7202/1070471ar
Gábor Sonkoly
Holloko, the first World Heritage village in Europe (since 1987), is exemplary not only because its long history of preservation ranges over different cultural heritage regimes and integrates various levels of heritage protection, but also because it is a village which incorporates intangible heritage elements from the beginning of its conservation in spite of the fact that first it is only protected as an ensemble of vernacular buildings. The article shows by the analysis of the sixty plus years of the documented heritage protection of this village how the regimes of cultural heritage unfold; how cultural heritage agency functions in the context of the interactions between locals, professionals and visitors; and how this heritage village embodies different levels of cultural heritage. The cultural heritage agency is examined in a matrix, which is determined by the three regimes of cultural heritage and by the multiple levels of heritage interpretations ranging from universal to local. The heritagization of the village proves that this process does not wipe out, but reuses broken social practices and that the locals form a public community for which the rather sharp line separating public and private spheres is blurred and needs to be managed.
Holloko是欧洲第一个世界遗产村(自1987年起),它是一个典范,不仅因为其悠久的保护历史涵盖了不同的文化遗产制度,并整合了不同层次的遗产保护,还因为它是一个从保护开始就融入非物质遗产元素的村庄,尽管它最初只是作为一个本土建筑的集合来保护。文章通过对该村六十余年文献遗产保护的分析,揭示了该村文化遗产制度是如何展开的;文化遗产机构如何在当地人、专业人士和游客之间互动的背景下发挥作用;以及这个文化遗产村如何体现不同层次的文化遗产。文化遗产机构在一个矩阵中进行审查,该矩阵由文化遗产的三种制度和从普遍到地方的多层次遗产解释决定。村庄的遗产化证明了这一过程并不是消灭,而是重新使用了破碎的社会实践,当地人形成了一个公共社区,在这个社区中,公共领域和私人领域之间泾渭分明的界限变得模糊,需要管理。
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引用次数: 0
De la biguine au jazz caribéen 从biguine到加勒比爵士乐
Q4 ANTHROPOLOGY Pub Date : 2019-01-01 DOI: 10.7202/1070474ar
Aurélie Boutant
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引用次数: 0
Creating Something out of Nothing 从无到有
Q4 ANTHROPOLOGY Pub Date : 2019-01-01 DOI: 10.7202/1069855ar
C. Thorne
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引用次数: 0
La chasse au phoque du Groenland à Essipit 在埃西比特捕猎格陵兰海豹
Q4 ANTHROPOLOGY Pub Date : 2019-01-01 DOI: 10.7202/1070477ar
Florence Parcoret
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引用次数: 0
Entre l’ethnologie et la géolinguistique 在民族学和地理语言学之间
Q4 ANTHROPOLOGY Pub Date : 2019-01-01 DOI: 10.7202/1070478ar
Jean-Nicolas De Surmont
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引用次数: 0
« Passer » un costume pour se glisser dans le passé “传递”一套服装,让自己滑入过去
Q4 ANTHROPOLOGY Pub Date : 2018-11-30 DOI: 10.7202/1054311AR
A. T. Demésy
La reconstitution historique est une activité consistant à représenter, par la recréation matérielle, des personnes qui auraient pu exister au cours d’une époque aujourd’hui révolue. Dans ce cadre, les costumes réalisés par les participants font partie de la culture matérielle reconstituée et donnent une orientation à celle-ci. Concernant plus spécifiquement la période médiévale, cet article interroge le sens que ces vêtements prennent afin de faciliter le passage d’un monde (contemporain) à l’autre (historique). En outre, ces recréations textiles sont aussi des outils permettant d’accéder à un sentiment d’appartenance à une communauté créée par les « reconstituteurs », organisant des savoir-faire et induisant des savoir-être. Suivant cette logique, la corporéité en jeu permet de comprendre comment l’apparence et la présentation de soi font partie d’un système vestimentaire qui enclenche un dépaysement temporel et organise l’activité.
历史重建是一种通过物质再创造来代表过去时代可能存在的人的活动。在这种情况下,参与者制作的服装是重建物质文化的一部分,并赋予其方向。更具体地说,这篇文章质疑了这些服装的意义,以促进从一个(当代)世界到另一个(历史)世界的过渡。此外,这些纺织品的再创造也是一种工具,让人们对一个由“重建者”创造的社区有一种归属感,组织技能和诱导技能。按照这个逻辑,身体的作用使我们能够理解自我的外观和呈现是如何成为服装系统的一部分,触发时间的变化,并组织活动。
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引用次数: 0
For an anthropology of historians 对于历史学家的人类学
Q4 ANTHROPOLOGY Pub Date : 2018-11-30 DOI: 10.7202/1054312AR
Van Troi Tran, P. Noël
The cliché is still lively: historians, as is well known, tend to portray themselves as craftsmen or artisans, mastering a practical know-how learned patiently through hands-on experience with dusty documents, and showing a conspicuous disdain towards theory and abstractions. This image deserves closer scrutiny. It is interesting that despite this insistence on the craftlike image of the profession, there seems to be a lack of ethnographic investigations of historians at work that would precisely pay attention to the craftiness of history and the multiple practicalities of doing history across different contexts. The idea that historians just do what they do sounds simple enough, but as is the case with any “craft,” from basket weaving to hunting in the rainforest, it is hardly self-evident, either technically or sociologically. To be sure, there are plenty of biographies, autobiographies, “ego-histories,” methodological primers and epistemological essays that tackle and debate the problems of the working historian, but these reflexive narratives remain essentially vertical. Taking our cue from some of the recent developments in science studies and the anthropology of science, we would like to propose in this article a program for a horizontal study of historians, that would be independent of their own reflexive discourse and symmetric in its explanations, and that would be attentive to the varieties of their existence and their becoming in a community of practice.
陈词滥调仍然很生动:众所周知,历史学家倾向于将自己描绘成工匠或工匠,通过对尘封文件的亲身体验耐心地掌握实用知识,并对理论和抽象表现出明显的蔑视。这张照片值得仔细观察。有趣的是,尽管坚持这一职业的狡猾形象,但似乎缺乏对正在工作的历史学家的民族志调查,这些调查会准确地关注历史的狡猾和在不同背景下进行历史研究的多重实用性。历史学家只做他们所做的事情的想法听起来很简单,但就像任何“工艺”一样,从编织篮子到在雨林中狩猎,无论从技术上还是从社会学上来说,这都不是不言自明的。可以肯定的是,有很多传记、自传、“自我历史”、方法论入门读物和认识论文章来解决和辩论在职历史学家的问题,但这些反射性叙事基本上是垂直的。根据科学研究和科学人类学的一些最新发展,我们想在本文中提出一个对历史学家进行横向研究的计划,该计划将独立于他们自己的反射性话语,并在其解释中对称,并将关注他们存在的多样性及其在实践社区中的形成。
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引用次数: 1
Nebesna Sotnia1 Sky Sotnia1
Q4 ANTHROPOLOGY Pub Date : 2018-11-30 DOI: 10.7202/1054314ar
Nataliya Bezborodova
The one hundred people shot dead on the Maidan were given the collective name Heavenly Hundred (Nebesna Sotnia). It became the central memory of the uprising; a hymn, a new state award, a national memorial day, poetry, monuments, memorial plaques and books were produced. Dozens of streets and squares were renamed in different regions. The paper focuses on the interpretations of large-scale historical events (the Cossack, the Ukrainian National Republic and World War II), and their incorporation into a new institutionalized narrative after drastic societal events on the example of the protests in Ukraine known as the Maidan in the winter of 2014. The research is based on original protest lore, 8905 Facebook posts from 1647 individuals, collected by the author on the day they were published on Facebook between January 19 – February 28, 2014. This timeframe includes both peaceful days and the most dramatic confrontation of the protests. The data originally was organized in 5 categories and 16 topics. The paper provides evidence of how personal stories function and validate the participants’ experiences and the significance of the events from the protestors’ perspectives; and protest lore impact on institutional changes of commemorative practices in the field of collective memory.
在独立广场被枪杀的一百人被冠以“天堂百人”(Nebesna Sotnia)。它成为了起义的中心记忆;一首赞美诗,一个新的州奖,一个国家纪念日,诗歌,纪念碑,纪念牌和书籍被制作出来。不同地区的数十条街道和广场被重新命名。本文着重于对大规模历史事件(哥萨克、乌克兰民族共和国和第二次世界大战)的解释,以及在激烈的社会事件(以2014年冬天乌克兰被称为独立广场的抗议活动为例)之后,将它们纳入新的制度化叙事。这项研究基于原始的抗议活动,来自1647个人的8905个Facebook帖子,这些帖子在2014年1月19日至2月28日期间在Facebook上发布,作者收集了这些帖子。这段时间既包括和平的日子,也包括抗议活动中最激烈的对抗。数据最初分为5类和16个主题。本文提供了个人故事如何发挥作用的证据,并从抗议者的角度验证了参与者的经历和事件的意义;抗议爱对集体记忆领域纪念实践的制度变迁的影响。
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引用次数: 0
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Ethnologies
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