The monument to the Polish Romantic poet Adam Mickiewicz, erected in 1898 in Krakow’s Main Market Square, is one of the most dynamic spots within the space of the Old Town, in its physical, symbolical and social aspects. Its origins story is an example of proto-patrimonial practices associated with the emergence of the canon of national heritage, understood as specific, existing cultural assets, either material or symbolic, which a given community inherited from previous generations and feels obliged to preserve. Dedicated to a poet whose oeuvre was recognised as priceless national treasure soon after his death, the monument transformed the space around it, imbuing the very centre of Krakow with new semantic codes, associated with the idea of a nation as an autonomous cultural and political community. The statue’s annihilation during the Nazi occupation of Poland and its post-war reconstruction led to a major revaluation of its essential form. The monument changed its patrimonial status and became a kind of a secular relic. Well-integrated into the urban landscape, the Mickiewicz Monument is regarded as one of Krakow’s landmarks, continuously entering interactions with the people around it. For tourists, it is mainly used as a convenient orientation point and an attraction that – as advertised by guide books – ought to be seen and photographed. For Krakow’s residents, it is simply Adaś, a symbol of local identity, a meeting spot and the background for family photographs. Since the very moment of its unveiling, the Mickiewicz Monument has also functioned as a democratic rostrum, becoming one of the brightest spots on the political map of the city.
{"title":"Monuments and space: Exercises in political imagination","authors":"Monika Golonka-Czajkowska","doi":"10.5281/ZENODO.4606570","DOIUrl":"https://doi.org/10.5281/ZENODO.4606570","url":null,"abstract":"The monument to the Polish Romantic poet Adam Mickiewicz, erected in 1898 in Krakow’s Main Market Square, is one of the most dynamic spots within the space of the Old Town, in its physical, symbolical and social aspects. Its origins story is an example of proto-patrimonial practices associated with the emergence of the canon of national heritage, understood as specific, existing cultural assets, either material or symbolic, which a given community inherited from previous generations and feels obliged to preserve. Dedicated to a poet whose oeuvre was recognised as priceless national treasure soon after his death, the monument transformed the space around it, imbuing the very centre of Krakow with new semantic codes, associated with the idea of a nation as an autonomous cultural and political community. The statue’s annihilation during the Nazi occupation of Poland and its post-war reconstruction led to a major revaluation of its essential form. The monument changed its patrimonial status and became a kind of a secular relic. Well-integrated into the urban landscape, the Mickiewicz Monument is regarded as one of Krakow’s landmarks, continuously entering interactions with the people around it. For tourists, it is mainly used as a convenient orientation point and an attraction that – as advertised by guide books – ought to be seen and photographed. For Krakow’s residents, it is simply Adaś, a symbol of local identity, a meeting spot and the background for family photographs. Since the very moment of its unveiling, the Mickiewicz Monument has also functioned as a democratic rostrum, becoming one of the brightest spots on the political map of the city.","PeriodicalId":43997,"journal":{"name":"Anthropological Notebooks","volume":"26 1","pages":"100-122"},"PeriodicalIF":0.4,"publicationDate":"2020-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49019016","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
With a focus on maritime pilgrimage to St Mac Dara island in Ireland, the authors discuss and examine how participation in maritime pilgrimages affects the participants and produces a unique pilgrimage experience. By using this research, the authors define the main characteristic of maritime pilgrimages and establish a point of reference for future maritime pilgrimage research, building their interpretation on ethnographic material. They argue that maritime pilgrimages produce a unique embodied experience because of the power of the seascape, which frames and shapes the experience of the pilgrims on maritime pilgrimage but also the embodied experience of the researchers. Although the reasons for going on maritime pilgrimage may change over time, and the role of the pilgrimage practice is different for the local community, the embodied experience of the pilgrims is still shaped by the seascape, becoming the most attractive and stable part of this pilgrimage.
{"title":"Experiencing maritime pilgrimage to St Mac Dara Island in Ireland: Pilgrims, hookers, and a local saint","authors":"Mario Katić, Mike McDonald","doi":"10.5281/ZENODO.4399488","DOIUrl":"https://doi.org/10.5281/ZENODO.4399488","url":null,"abstract":"With a focus on maritime pilgrimage to St Mac Dara island in Ireland, the authors discuss and examine how participation in maritime pilgrimages affects the participants and produces a unique pilgrimage experience. By using this research, the authors define the main characteristic of maritime pilgrimages and establish a point of reference for future maritime pilgrimage research, building their interpretation on ethnographic material. They argue that maritime pilgrimages produce a unique embodied experience because of the power of the seascape, which frames and shapes the experience of the pilgrims on maritime pilgrimage but also the embodied experience of the researchers. Although the reasons for going on maritime pilgrimage may change over time, and the role of the pilgrimage practice is different for the local community, the embodied experience of the pilgrims is still shaped by the seascape, becoming the most attractive and stable part of this pilgrimage.","PeriodicalId":43997,"journal":{"name":"Anthropological Notebooks","volume":"26 1","pages":"1-27"},"PeriodicalIF":0.4,"publicationDate":"2020-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46393927","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Globally, governments are persecuting intellectuals in their home countries. Em-ploying data from ethnographic fieldwork, the present paper has a focus on exiled scholars, artists, and writers hosted in the Nordic countries. Living in exile enables the interlocutors to criticise the regimes’ perceived injustice, and to accuse them of limiting freedom of expression and human rights. In return, the exiled intellectuals are regarded as a threat, and they are personally persecuted in the form of torture, “ideological re-education”, imprisonment, execution or “disappearance”. Embedded in their opposition is a belief that cultural forms can change, and the equivocal nature of the trickster figure symbolises the interlocutors’ defiance of the perceived homogeneity. Applying trickster analytically provides an opportunity for illumi-nating normative common-senseness, which can reveal potentials for the cultural transformation of static cultures and identities. The interlocutors’ opposition takes shape by using a diversity of creativity and innovative constellations, which shows that power structures can be contested and that social conditions can be shaped by agency.
{"title":"The trickster of exiled intellectuals: Arcane opposition to the perceived injustice","authors":"C. Svensson","doi":"10.5281/ZENODO.4315342","DOIUrl":"https://doi.org/10.5281/ZENODO.4315342","url":null,"abstract":"Globally, governments are persecuting intellectuals in their home countries. Em-ploying data from ethnographic fieldwork, the present paper has a focus on exiled scholars, artists, and writers hosted in the Nordic countries. Living in exile enables the interlocutors to criticise the regimes’ perceived injustice, and to accuse them of limiting freedom of expression and human rights. In return, the exiled intellectuals are regarded as a threat, and they are personally persecuted in the form of torture, “ideological re-education”, imprisonment, execution or “disappearance”. Embedded in their opposition is a belief that cultural forms can change, and the equivocal nature of the trickster figure symbolises the interlocutors’ defiance of the perceived homogeneity. Applying trickster analytically provides an opportunity for illumi-nating normative common-senseness, which can reveal potentials for the cultural transformation of static cultures and identities. The interlocutors’ opposition takes shape by using a diversity of creativity and innovative constellations, which shows that power structures can be contested and that social conditions can be shaped by agency.","PeriodicalId":43997,"journal":{"name":"Anthropological Notebooks","volume":"26 1","pages":"111-128"},"PeriodicalIF":0.4,"publicationDate":"2020-12-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41923840","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper explores My Recoverist Family, a film in which each of us had a different role: as anthropological film maker (Amanda); commissioner of the project and participant within it (Mark); and audience member and critic (Ali). The film shows a group of LGBT+ people using art to explore recovery from substance use with reference to their own biographies and wider social issues. The paper interrogates the interaction of visual and performing arts and storytelling in touching, articulating and representing the film’s main focus - the injustices of LGBT+ people. Using the idea of unsettling narrative(s), we analyse how the film makers privilege exploration over explanation, and glimpsed momentary understandings over narrative coherence, explanation and denouement. In order to align the writing process with the filmmaking methodology (influenced by anthropologist Tim Ingold’s (2014) understanding of the creativity of undergoing) we utilised a methodological tool that Ali contributed to developing called the scenic composition (Froggett et al. 2014). We argue that the paper’s significance is both substantive and methodological: artistically metabolised narratives make it possible to complicate ‘the stories being listened for’ (Woods et al: 2019); and this in turn begins to dismantle the binaries around which much current addiction treatment policy and practice is constructed.
本文探讨了《我的康复家》这部电影，在这部电影中，我们每个人都扮演着不同的角色:作为人类学电影制作人(阿曼达);项目负责人及项目参与者(Mark);观众和评论家(阿里)。这部电影展示了一群LGBT+人群通过他们自己的传记和更广泛的社会问题，用艺术来探索从药物滥用中恢复过来。本文探讨了视觉艺术、表演艺术和叙事的相互作用，在触摸、表达和代表电影的主要焦点——LGBT+人群的不公正。运用令人不安的叙事思想，我们分析了电影制作者如何将探索置于解释之上，并瞥见了瞬间理解而不是叙事连贯、解释和结局。为了使写作过程与电影制作方法(受人类学家Tim Ingold(2014)对经历的创造力理解的影响)保持一致，我们使用了阿里参与开发的一种方法论工具，称为风景构图(Froggett et al. 2014)。我们认为，这篇论文的意义既有实质性的，也有方法论的:艺术代谢的叙事使得“被倾听的故事”变得复杂成为可能(Woods等人:2019);而这反过来又开始打破目前许多成瘾治疗政策和实践所围绕的二元对立。
{"title":"Unsettling Narrative(s): Film Making as an Anthropological Lens on an Artist-Led Project Exploring LGBT+ Recovery from Substance Use","authors":"Alastair Roy, A. Ravetz, Mark Prest","doi":"10.5281/ZENODO.4300396","DOIUrl":"https://doi.org/10.5281/ZENODO.4300396","url":null,"abstract":"This paper explores My Recoverist Family, a film in which each of us had a different role: as anthropological film maker (Amanda); commissioner of the project and participant within it (Mark); and audience member and critic (Ali). The film shows a group of LGBT+ people using art to explore recovery from substance use with reference to their own biographies and wider social issues. The paper interrogates the interaction of visual and performing arts and storytelling in touching, articulating and representing the film’s main focus - the injustices of LGBT+ people. Using the idea of unsettling narrative(s), we analyse how the film makers privilege exploration over explanation, and glimpsed momentary understandings over narrative coherence, explanation and denouement. In order to align the writing process with the filmmaking methodology (influenced by anthropologist Tim Ingold’s (2014) understanding of the creativity of undergoing) we utilised a methodological tool that Ali contributed to developing called the scenic composition (Froggett et al. 2014). We argue that the paper’s significance is both substantive and methodological: artistically metabolised narratives make it possible to complicate ‘the stories being listened for’ (Woods et al: 2019); and this in turn begins to dismantle the binaries around which much current addiction treatment policy and practice is constructed.","PeriodicalId":43997,"journal":{"name":"Anthropological Notebooks","volume":"26 1","pages":"33-54"},"PeriodicalIF":0.4,"publicationDate":"2020-12-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44699552","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Anthropology and the new cosmopolitanism rooted, feminist and vernacular perspectives","authors":"A. Dragojlovic","doi":"10.5040/9781474214186","DOIUrl":"https://doi.org/10.5040/9781474214186","url":null,"abstract":"","PeriodicalId":43997,"journal":{"name":"Anthropological Notebooks","volume":"15 1","pages":"95-96"},"PeriodicalIF":0.4,"publicationDate":"2009-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70524002","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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