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Ethnography In-Sight: Spiraling through Fieldwork 视野中的民族志:在田野调查中盘旋
IF 1.3 2区 社会学 Q3 ANTHROPOLOGY Pub Date : 2022-06-24 DOI: 10.1111/jlca.12596
Jan Hoffman French
<p></p><p><i>Credit: Photo by Alejandro Zambrana, October 2010, Laranjeiras, Sergipe</i>.</p><p>Knowledge and interpretation of an annual festival in the Brazilian northeastern city of Laranjeiras, Sergipe (see French, <i>this issue</i>) informs my particular dialogic relationship to this Photograph. The permanence of the handprints behind a figure moving through time depicted in this image illustrates two states of being, but also two ways—at least—of knowing: on the one hand, the visual and textual inscription of stasis and permanence, and on the other hand, the performative temporality of the body that inscribes movement and change. Red and Black. Seeing, interpreting, and understanding the image—a textual inscription of the <i>brincadeira</i> (game) of Red and Black—is itself a kind of “game” or “spiraling” between ways of knowing.</p><p>When I first saw this photograph, my eyes were drawn to the two black handprints that I assumed to be from a single person. The concrete wall on which they were imprinted appears to have been repaired and painted more than once. I then noticed the fingers of a third hand peeping out from behind someone caught in motion. The movement in the foreground strikes me now as emphasizing the stillness of the background. Had I not known the story behind the photo, I would not have come to it knowing that the figure is a Black man painted red, wearing a feathered headdress. Therefore, the meaning I take as I gaze at the photograph, which I have done to write this essay, raises an important question: Is it possible to disengage “a sensory means of knowing” from “the textual description that tethers” the photograph to the story (Graham <span>2015</span>, 178)? It may be possible to interpret this image from a purely aesthetic perspective, as an “object of inquiry” disengaged from the textual description. However, in this case, at least for me, the photograph is a “medium of inquiry” (Silverstein <span>2015</span>, 174) and as such it is “fundamentally relational” (Grimshaw <span>2011</span>, 255). My experience and knowledge of the <i>brincadeira</i>, my relationship with the story, therefore, requires me to approach the image as a “medium of inquiry.” The artfulness of the image reinforces my interpretation reinscribed in this text. Regardless, Alejandro Zambrana has captured in a single image the existential complexity of stability and change that characterizes an annual storytelling festival in Northeast Brazil known as Lambe-sujo versus Caboclinho.</p><p>The story, told through dance, song, and hand-to-hand combat, reenacts the pursuit and capture of fugitive slaves by Indigenous troops in the colonial-era city of Laranjeiras, Sergipe. In the festival known as a <i>brincadeira</i>, two designated groups of men paint themselves either black or red, the former portraying fugitive slaves (<i>Lambe-sujos</i>) and the latter representing their Indigenous captors (<i>Caboclinhos</i>). Since the nineteenth century, the dayl
图片来源:Alejandro Zambrana摄于2010年10月,Sergipe的Laranjeiras。对巴西东北部城市Sergipe Laranjeiras一年一度的节日的了解和解读(见法语,本期)使我与这张照片产生了特殊的对话关系。在这幅画中,人物身后的手印的永恒性说明了两种存在状态,但也至少说明了两种认识方式:一方面,静止和永恒的视觉和文字铭文;另一方面,身体的表演临时性铭文记录了运动和变化。红色和黑色。观看、解释和理解图像——红与黑的brincadeira(游戏)的文字铭文——本身就是一种“游戏”或“盘旋”在不同的认知方式之间。当我第一次看到这张照片时,我的眼睛被两个黑色的手印所吸引,我以为这是一个人的手印。刻有它们的混凝土墙似乎被修复和粉刷了不止一次。然后我注意到第三只手的手指从一个被抓的人后面探了出来。前景中的运动现在给我的印象是强调了背景的静止。如果我不知道这张照片背后的故事,我就不会知道这是一个涂成红色、戴着羽毛头饰的黑人。因此,当我凝视这张照片时,我所做的写作这篇文章的意义提出了一个重要的问题:是否有可能从“将照片与故事捆绑在一起的文本描述”中脱离“一种感知的方式”(Graham 2015, 178)?也许可以从纯粹的美学角度来解读这幅图像,作为一个脱离文本描述的“探究对象”。然而,在这种情况下,至少对我来说,照片是一种“探究的媒介”(Silverstein 2015, 174),因此它是“根本上的关系”(Grimshaw 2011, 255)。因此,我对brincadeira的经验和知识,以及我与故事的关系,要求我将图像作为一种“探究的媒介”。这幅图像的艺术性加强了我在这篇文章中重新阐述的解释。无论如何,Alejandro Zambrana在一张照片中捕捉到了稳定与变化的存在复杂性,这是巴西东北部一年一度的故事节Lambe-sujo vs Caboclinho的特点。这个故事通过舞蹈、歌曲和肉搏战来讲述,重现了在殖民时代的Sergipe城市Laranjeiras,土著军队追捕和捕获逃亡奴隶的过程。在这个被称为brincadeira的节日里,两组指定的男人把自己涂成黑色或红色,前者描绘逃亡的奴隶(Lambe-sujos),后者代表他们的土著俘虏(Caboclinhos)。自19世纪以来,这一长达一天的活动一直由三百年来从非洲被运送到这个曾经繁荣的奴隶港口,在甘蔗种植园工作的人们的后代重现和表演。Lambe-sujo与Caboclinho之争是对那些年并不罕见的事件的重演。被奴役的人会抓住一切机会逃到周围的乡村,建立被称为“歌伦波”的定居点。这种近而远的位置使得逃亡的奴隶可以袭击城镇和种植园,获取食物和其他必需品。奴隶主会联系政府当局,要求部署居住在天主教传教区的土著男子,追捕并捕获逃亡的奴隶。在庆祝活动的白天,在葡萄牙巴洛克式建筑中,在居民和游客的怂恿下,以黑人为主的人口在街上游行跳舞。他们在一座非裔巴西人的神庙(terreiro)接受圣徒之母(m<e:1> de santos)的祝福,在俯瞰城市的山顶教堂接受天主教神父的祝福。一天结束时,Lambe-sujos和Caboclinhos到达河岸,在那里,各自部落的国王进行了一场肉搏战。最后,兰姆苏霍人输掉了战斗,继续被当地的白人奴隶统治所奴役,直到第二年才重演。随着时间的推移,服装和伴奏音乐的元素已经呈现出当代的一面,模仿和反映了民间故事、历史人物和里约热内卢最著名的四旬斋前狂欢节庆祝活动。作为一种“螺旋时间”的表演,Lambe-sujo brincadeira伴奏并帮助塑造了一个多世纪以来拉兰吉拉斯经历的意义。勒达·马丁斯(Leda Martins, 2007)将螺旋时间的表演定义为不仅是一种习惯,而且是“建立、解释和修改重新制定的行为”(183)。 Lambe-sujo有一个持续的结构,与此同时,它在服装上的变化是动态的,对居住在Laranjeiras的人们的不断更新的反思和意义。近年来,随着黑人社会运动的日益壮大,人们越来越认识到巴西黑人对国家政治的重要性,人们经常通过黑人的身份和斗争,以及对被奴役的共同记忆来看待这一事件。因此,Lambe-sujo是一种表演传统,在这种传统中,记忆和创造力既写在个人身上,也写在城市和居民的公共身上。表演保留了它的基本元素和故事,同时提供了“对世界上行为模式的复杂而持续的观察”(Hallam and Ingold 2007, 5)。从赞布拉纳的照片中,我们可以看到兰姆-苏霍是马丁斯对时间的表现的一个很好的例子——习惯的印记,以留在墙上的手印为代表,以及多年来对服装和信仰的重写。对我来说,这总是一个时机问题,或者我应该说时机不好。虽然自上世纪90年代末以来,我在塞尔吉佩进行了大量的实地考察,但直到最近,我才参加了兰贝sujo音乐节。我最初的田野调查,最终完成了我的论文和一本书,重点关注两个相关的社区,一个是土著社区(Xocó),另一个是逃亡奴隶后裔社区(Quilombo Mocambo),位于距离拉兰吉拉斯大约100英里的地方。我第一次了解Lambe-sujo与Caboclinho是在我进行论文研究的那一年,在Sergipe首都的一家公共图书馆的照片展览上。在接下来的几年里,我多次回到塞尔吉佩,但总是在夏天(巴西的冬天)。当我终于能够参加时,我亲身体验了我只在照片上看到的事件。事实上,在我和我的巴西朋友们到达后的几分钟内,就有一个涂黑衣服、打扮成兰博sujo的人走近我,要求“捐款”。我们的速度不够快,所以墙上的手印变成了我们身上的手印,把我们变成了不仅仅是旁观者,而是融入了节日的戏剧。那天的田野工作经历——我们的身体上刻着兰氏人的手印——要求我把图像看作是与我的文章文本联系在一起的一种探究媒介;我发现几乎不可能以其他方式看待它。然而,经过反思,我的认知方式已经螺旋上升,允许图像和文本螺旋上升,因此我们可以将文本视为解释图像的调查媒介,就像我们可能重新考虑田野调查与民族志写作的关系一样。如果我们把田野调查比作一系列图像,我们可能会把民族志看作一种调查媒介,将我们田野调查的产品解释为我们调查的对象。[表演,视觉人类学,黑人身份,巴西]O conhecimento e a interpreta。1 permanência as marcas as m<s:1> atrás as uma figura que se move no tempo,在图像上没有节奏,在图像上没有节奏,在图像上没有节奏,在图像上没有节奏,在图像上没有节奏,在图像上没有节奏,在图像上没有节奏,在图像上没有节奏,在图像上没有节奏,在图像上没有节奏,在图像上没有节奏,在图像上没有节奏,在视觉上没有节奏,在文本上没有节奏,在视觉上没有节奏,在视觉上没有节奏,在时间上没有节奏,在表演上没有节奏,在图像上没有节奏。Vermelho e preto。然而,解释和理解一个意象-Uma in。Quando vi esta fotografia pela primeira vez, meus olhos foram atraídos por duas impressões de m<s:1> o
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引用次数: 0
Economías inflamables en tiempos de COVID-19: La reventa de gasolina en la frontera de Venezuela–Brasil COVID-19时期的易燃经济:委内瑞拉-巴西边境的汽油转售
IF 1.3 2区 社会学 Q3 ANTHROPOLOGY Pub Date : 2022-06-24 DOI: 10.1111/jlca.12591
Morelia Morillo Ramos, Eva van Roekel

The resale of Brazilian fuel on the Venezuela–Brazil border is an emerging event that facilitates a renewed sociopolitical understanding of local survival strategies beyond notions of societal resilience and informality in times of crisis. This economic activity rather belongs to a mercurial way of life that occurs in these cross-border spaces where gold is the locus of a commercial chain that links various underground economies. Based on collaborative ethnographic research, in this article we show that the resale of fuel occurs with even greater virulence in times of multiple crises and closed borders, which has exacerbated by the current Covid-19 pandemic turning prevailing underground economies into “flammable economies.” By this, we refer to an informal economy in times of crisis that is extremely volatile and contagious, whose effects proliferate fueled by the legal ambivalence that is becoming more extensive everyday.

巴西燃料在委内瑞拉-巴西边境的转售是一个新兴事件,它促进了对当地生存策略的新的社会政治理解,超越了危机时期社会弹性和非正式性的概念。这种经济活动属于一种多变的生活方式,发生在这些跨境空间中,黄金是连接各种地下经济的商业链的中心。基于民族志合作研究,本文表明,在多重危机和边境封闭时期,燃料转售的毒性更大,而当前的Covid-19大流行使普遍存在的地下经济变成了“易燃经济”,加剧了这种情况。我们指的是危机时期极不稳定和具有传染性的非正规经济,其影响因日益广泛的法律矛盾心理而扩散。
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引用次数: 0
From Banana Zones to the Big Easy: West Indian and Central American Immigration to New Orleans, 1910–1940. Glenn A. Chambers. Baton Rouge: Louisiana State University Press, 2019. 199 pp. 从香蕉区到大轻松:西印度和中美洲移民到新奥尔良,1910-1940。格伦·钱伯斯。巴吞鲁日:路易斯安那州立大学出版社,2019。199页。
IF 1.3 2区 社会学 Q3 ANTHROPOLOGY Pub Date : 2022-06-22 DOI: 10.1111/jlca.12599
Violet Showers Johnson
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引用次数: 0
Indigenous Divergences from the Sacrifice Zones and Rehabilitations of Extractivism When the Hills are Gone: Frac Sand Mining and the Struggle for Community. Thomas Pearson. Minneapolis: University of Minnesota Press, 2017. 256 pp. The Extractive Zone. Macarena Gómez-Barris. Durham: Duke University Press, 2017. 208 pp. ExtrACTION: Impacts, engagements, and alternative futures. Kirk Jalbert, Anna Willow, David Casagrande and Stephanie Paladino, eds. New York: Routledge, 2017. 237 pp. 牺牲地区的土著分歧和采掘活动的恢复当山消失:压裂采砂和社区的斗争。托马斯·皮尔森。明尼阿波利斯:明尼苏达大学出版社,2017。256页。萃取区。玛卡瑞娜Gomez-Barris。杜伦:杜克大学出版社,2017。摘录:影响,约定和可选的未来。Kirk Jalbert, Anna Willow, David Casagrande和Stephanie Paladino主编。纽约:劳特利奇出版社,2017。237页。
IF 1.3 2区 社会学 Q3 ANTHROPOLOGY Pub Date : 2022-06-22 DOI: 10.1111/jlca.12597
Juan Javier Rivera Andía
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引用次数: 0
Gastropolitics and the Specter of Race. Stories of Capital, Culture, and Coloniality in Peru. María Elena García. Oakland, CA: University of California Press, 2021. 291 pp. 地缘政治和种族的幽灵。秘鲁的资本、文化和殖民故事。María Elena García。奥克兰,加州:加州大学出版社,2021年。291页。
IF 1.3 2区 社会学 Q3 ANTHROPOLOGY Pub Date : 2022-06-09 DOI: 10.1111/jlca.12601
Steffan Igor Ayora-Diaz
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引用次数: 0
The Living Inca Town: Tourist Encounters in the Peruvian Andes. Karoline Guelke. Toronto: University of Toronto Press, 2021. 204 pp. 活着的印加小镇:秘鲁安第斯山脉的游客邂逅。Karoline Guelke。多伦多:多伦多大学出版社,2021。204页。
IF 1.3 2区 社会学 Q3 ANTHROPOLOGY Pub Date : 2022-06-09 DOI: 10.1111/jlca.12600
Joseph P. Feldman
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引用次数: 0
Coastal Lives: Nature, Capital, and the Struggle for Artisanal Fisheries in Peru. Maximilian Viatori and Héctor Bombiella. Tucson: The University of Arizona Press, 2019. 232 pp. 沿海生活:秘鲁的自然、资本和手工渔业的斗争。Maximilian Viatori和hsamctor Bombiella。图森:亚利桑那大学出版社,2019年。232页。
IF 1.3 2区 社会学 Q3 ANTHROPOLOGY Pub Date : 2022-06-09 DOI: 10.1111/jlca.12598
María Elena García
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引用次数: 0
“Playing with the Bull”: Breeding, Blood, and Ritual in Multispecies Ethnography of Peruvian Bullfighting “与公牛玩耍”:秘鲁斗牛的多物种人种志中的繁殖、血统和仪式
IF 1.3 2区 社会学 Q3 ANTHROPOLOGY Pub Date : 2022-05-20 DOI: 10.1111/jlca.12585
John Hartigan Jr, Alexander Menaker

Turupukllay is a popular form of bullfighting in Peru that unfolds over several days. Social analysis of turupukllay has largely focused on the symbolic dimension of its most sensational form, Yawar Fiesta, in which a condor is affixed to the back of the bull. But regarding these animals merely as symbols results in a limited sense of “play,” particularly given how turupukllay encompasses the bull as a life-form. Based on fieldwork in Andagua, Peru, we argue that playing with the bull is more extensive: turupukllay can be seen as playing with tauromaquia broadly—the art, life, and regulation of Spanish-style bullfighting. In Andagua, turupukllay plays with the bull through local breeding practices that physically transform it while also engaging in an ongoing burlesque of the formal features in tauromaquia. This version of turupukllay highlights an ongoing historical dynamic at play in the wide popularity of corrida de toros in Peru.

Turupukllay是秘鲁一种流行的斗牛形式,持续数天。对turupukllay的社会分析主要集中在其最轰动的形式——亚瓦尔节(Yawar Fiesta)的象征维度上,在这一形式中,一只秃鹰被贴在公牛的背上。但是,把这些动物仅仅看作是象征,会导致一种有限的“游戏”感,特别是考虑到turupukllay如何将公牛作为一种生命形式。根据在秘鲁安达瓜的田野调查,我们认为与公牛玩耍的范围更广:turupukllay可以被看作是与tauromaquia玩耍——西班牙式斗牛的艺术、生活和规则。在安达瓜,turupukllay通过当地的繁殖实践与公牛玩耍,这些实践在物理上改变了公牛,同时也参与了对牛头马基亚正式特征的持续滑稽表演。这个版本的turupukllay突出了在秘鲁广受欢迎的corrida de toros中正在进行的历史动态。
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引用次数: 1
Fernando Ortiz's Transculturation: Applied Anthropology, Acculturation, and Mestizaje 费尔南多·奥尔蒂斯的《跨文化:应用人类学、文化适应与梅斯蒂萨人》
IF 1.3 2区 社会学 Q3 ANTHROPOLOGY Pub Date : 2022-05-18 DOI: 10.1111/jlca.12590
Miguel Arnedo-Gómez

Fernando Ortiz's proposal to replace the word acculturation with transculturation in Contrapunteo cubano del tabaco y el azúcar (1940) has become an iconic statement affirming the distinctiveness of Latin American anthropology. This narrative includes a deeper thread that involves Bronisław Malinowski, who praised the neologism for its counterhegemonic implications in his introduction to Contrapunteo. According to this thread of the narrative, though, Malinowski sought to suppress Ortiz's theorization by subsuming it into his school of functionalism. This article approaches the genesis of transculturation as a more complex and reciprocal process of negotiations that also included Melville Herskovits and acculturation studies. The theoretical positions of each of these anthropologists—Ortiz, Malinowski, and Herskovits—stemmed from geopolitical circumstances linked to the different colonial and postcolonial contexts in which they worked. I argue that despite their different agendas and mutual misrepresentations, transculturation became more counterhegemonic through their interactions, and suggest that this has implications for how we might think about the development of anthropological theory as arising from reflexive anthropological collaborations.

Fernando Ortiz在《Contrapunteo cubano del tabaco y el azúcar》(1940)中提出用跨文化(transculturation)取代文化适应(acculturation)一词,这已经成为确认拉丁美洲人类学独特性的标志性声明。这个叙述包含了一个更深层次的线索,涉及Bronisław Malinowski,他在《Contrapunteo》的介绍中赞扬了这个新词的反霸权含义。然而,根据这条叙事线索,马林诺夫斯基试图通过将奥尔蒂斯的理论纳入他的功能主义学派来压制奥尔蒂斯的理论。本文将跨文化的起源视为一个更复杂和互惠的谈判过程,其中还包括梅尔维尔·赫斯科维茨和文化适应研究。奥尔蒂斯、马林诺夫斯基和赫斯科维茨这三位人类学家的理论立场,都源于与他们所处的不同殖民和后殖民背景相关的地缘政治环境。我认为,尽管他们有不同的议程和相互的误解,但跨文化通过他们的互动变得更具反霸权性,并建议这对我们如何看待人类学理论的发展产生于反思性人类学合作具有启示意义。
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引用次数: 0
Moral Panics, Viral Subjects: Black Women's Bodies on the Line during Cuba's 2020 Pandemic Lockdowns 道德恐慌,病毒主题:在古巴2020年大流行封锁期间,黑人妇女的身体处于危险之中
IF 1.3 2区 社会学 Q3 ANTHROPOLOGY Pub Date : 2022-05-18 DOI: 10.1111/jlca.12587
Hope Bastian, Maya J. Berry

While Cuba was in a COVID-19-induced lockdown, coleras, women who wait in hours-long colas (lines) to purchase scarce goods to resell, emerged in online state media as “folk devils” responsible for the acute shortages of basic goods. Using an intersection lens, we combine fieldwork in lines and content analysis of online media to examine the creation and policing of the colera threat during the summer of 2020. Coleras were framed as immoral subjects, gendered and racialized, and often depicted as a virus that threatened the nation's health. The colera moral panic attempted to obscure class, race, and gender inequalities and structures that have made certain citizens vulnerable in the aftermath of successive waves of Cuban economic reforms. Understanding this moral panic allows us to appreciate the material scarcities and indignities to which poor Black women have been subjected, and widespread concerns about the state's failure to protect society's most vulnerable.

在古巴因新冠肺炎疫情而被封锁期间,在官方网络媒体上,排几个小时队购买稀缺商品再出售的妇女被称为“民间恶魔”,对基本商品的严重短缺负有责任。使用交叉镜头,我们将实地调查与在线媒体的内容分析相结合,以研究2020年夏季colera威胁的产生和监管。Coleras被定义为不道德的主题,性别和种族化,并经常被描述为威胁国家健康的病毒。科莱拉的道德恐慌试图掩盖阶级、种族和性别的不平等和结构,这些不平等和结构使某些公民在古巴连续的经济改革浪潮之后变得脆弱。理解了这种道德恐慌,我们就能理解贫穷的黑人妇女所遭受的物质匮乏和侮辱,以及人们对国家未能保护社会最弱势群体的普遍担忧。
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引用次数: 2
期刊
Journal of Latin American and Caribbean Anthropology
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