Pub Date : 2022-10-17DOI: 10.1177/13591835221132378
Jeremy F. Walton
This essay examines the heterotopic and heterochronic material afterlives of cemeteries through a comparative focus on two cities of the dead: Zagreb's Mirogoj Cemetery, which was established during the late 19th century, and Thessaloniki's Zeitenlik World War I Military Cemetery, which entombs Allied victims from the Salonika Front. My principal aim is to highlight the contrasts and contradictions between nationalized collective memories and unsettling imperial legacies that define the material afterlives of each of these cemeteries. In Mirogoj, material afterlives take shape as a palimpsest of eras, only some of which are monumentalized as collective memories. In Zeitenlik, the material afterlife of a single event of death-dealing, the Great War, constitutes an archive of bygone imperial socialities that defy the homogenizing logics of national identity in the present.
{"title":"The dead wait: Material afterlives in sepulchral spaces","authors":"Jeremy F. Walton","doi":"10.1177/13591835221132378","DOIUrl":"https://doi.org/10.1177/13591835221132378","url":null,"abstract":"This essay examines the heterotopic and heterochronic material afterlives of cemeteries through a comparative focus on two cities of the dead: Zagreb's Mirogoj Cemetery, which was established during the late 19th century, and Thessaloniki's Zeitenlik World War I Military Cemetery, which entombs Allied victims from the Salonika Front. My principal aim is to highlight the contrasts and contradictions between nationalized collective memories and unsettling imperial legacies that define the material afterlives of each of these cemeteries. In Mirogoj, material afterlives take shape as a palimpsest of eras, only some of which are monumentalized as collective memories. In Zeitenlik, the material afterlife of a single event of death-dealing, the Great War, constitutes an archive of bygone imperial socialities that defy the homogenizing logics of national identity in the present.","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":"27 1","pages":"377 - 395"},"PeriodicalIF":0.9,"publicationDate":"2022-10-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46656643","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-22DOI: 10.1177/13591835221125113
Tian Shi
Dress has been used as a visual avowal of social status, personality, personal taste, identity, and philosophy throughout history. This article aims to assess the changing dress practices and understand the meaning of ethnic dress in the diasporic community in a super-connected era. This article examines the cultural–historical contexts that contribute to dress practices at the macro level and individuals’ perceptions at the micro level. This article demonstrates how the Hmong experience can contribute to the knowledge of dress as a vehicle of agency, identity, and aspiration in fashion and material culture studies. In doing so, this article provides new insights into a growing area of research by exploring the emotionality of materials in terms of how imagination and aspiration of ethnicity are inscribed in and ascribed to dress and clothing in diasporic groups.
{"title":"Local fashion, global imagination: Agency, identity, and aspiration in the diasporic Hmong community","authors":"Tian Shi","doi":"10.1177/13591835221125113","DOIUrl":"https://doi.org/10.1177/13591835221125113","url":null,"abstract":"Dress has been used as a visual avowal of social status, personality, personal taste, identity, and philosophy throughout history. This article aims to assess the changing dress practices and understand the meaning of ethnic dress in the diasporic community in a super-connected era. This article examines the cultural–historical contexts that contribute to dress practices at the macro level and individuals’ perceptions at the micro level. This article demonstrates how the Hmong experience can contribute to the knowledge of dress as a vehicle of agency, identity, and aspiration in fashion and material culture studies. In doing so, this article provides new insights into a growing area of research by exploring the emotionality of materials in terms of how imagination and aspiration of ethnicity are inscribed in and ascribed to dress and clothing in diasporic groups.","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":"28 1","pages":"175 - 198"},"PeriodicalIF":0.9,"publicationDate":"2022-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65560524","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-15DOI: 10.1177/13591835221123995
Gwyneira Isaac, S. Colebank
Anthropologically informed plaster face casts were created and collected in the 19th and 20th centuries as part of an effort to develop human typologies, and to acquire data on what were perceived to be the morphological attributes of race. Their subsequent affective, politically sensitive, promiscuously mobile, and precarious qualities have resulted in them occupying highly charged territories within collections, as well as between museums and descendant communities. They are objects with inherent ambiguities due to how they exist at the intersections of art and science, merging individual, cultural, political, and colonialized bodies. Casts also provide tangible traces of unwanted physical intimacy resulting from how colonized peoples often had no choice in being cast or handled by strangers. In recent years, however, they have also been used by descendent communities as memorials of family members. This article explores this potent intersection of ambiguity and intimacy that these casts occupy, arguing for ethical protocol for their treatment that acknowledges their history, colonial contexts, and the processes behind their creation, as well as their current re-socialization through renewed relationships with descendant communities.
{"title":"Anthropological face casts: Towards an ethical processing of their histories and difficult legacies of intimacy and ambiguity","authors":"Gwyneira Isaac, S. Colebank","doi":"10.1177/13591835221123995","DOIUrl":"https://doi.org/10.1177/13591835221123995","url":null,"abstract":"Anthropologically informed plaster face casts were created and collected in the 19th and 20th centuries as part of an effort to develop human typologies, and to acquire data on what were perceived to be the morphological attributes of race. Their subsequent affective, politically sensitive, promiscuously mobile, and precarious qualities have resulted in them occupying highly charged territories within collections, as well as between museums and descendant communities. They are objects with inherent ambiguities due to how they exist at the intersections of art and science, merging individual, cultural, political, and colonialized bodies. Casts also provide tangible traces of unwanted physical intimacy resulting from how colonized peoples often had no choice in being cast or handled by strangers. In recent years, however, they have also been used by descendent communities as memorials of family members. This article explores this potent intersection of ambiguity and intimacy that these casts occupy, arguing for ethical protocol for their treatment that acknowledges their history, colonial contexts, and the processes behind their creation, as well as their current re-socialization through renewed relationships with descendant communities.","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":"28 1","pages":"324 - 348"},"PeriodicalIF":0.9,"publicationDate":"2022-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43592890","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-13DOI: 10.1177/13591835221123953
Iida Kalakoski, Sigrun Thorgrimsdottir
This article explores material culture and peoples’ engagement with built environments from the perspective of vernacular architecture, adaptive reuse and more specifically barn-inspired architecture. Departing from actual cases of conversions that involve material reuse and initiate a correspondence between various more-than-human actors and temporal dimensions, we join the debate around sustainable architecture. We understand sustainability rather as transmission than as arresting change, and we have taken into consideration a broad scope of heritage, including masses of unlisted and abandoned buildings. Adaptive reuse and other comparable forms of using and caring for the outworn existing building stock are practices intended to prolong the lifespan of material resources through reinterpretation. Through barn architecture, we suggest alternative approaches and concepts, such as mending and care, to both fields of architecture and architectural conservation.
{"title":"Learning from the secondary: Rethinking architectural conservation through ‘barn architecture’","authors":"Iida Kalakoski, Sigrun Thorgrimsdottir","doi":"10.1177/13591835221123953","DOIUrl":"https://doi.org/10.1177/13591835221123953","url":null,"abstract":"This article explores material culture and peoples’ engagement with built environments from the perspective of vernacular architecture, adaptive reuse and more specifically barn-inspired architecture. Departing from actual cases of conversions that involve material reuse and initiate a correspondence between various more-than-human actors and temporal dimensions, we join the debate around sustainable architecture. We understand sustainability rather as transmission than as arresting change, and we have taken into consideration a broad scope of heritage, including masses of unlisted and abandoned buildings. Adaptive reuse and other comparable forms of using and caring for the outworn existing building stock are practices intended to prolong the lifespan of material resources through reinterpretation. Through barn architecture, we suggest alternative approaches and concepts, such as mending and care, to both fields of architecture and architectural conservation.","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":"28 1","pages":"199 - 220"},"PeriodicalIF":0.9,"publicationDate":"2022-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41910998","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-17DOI: 10.1177/13591835221116708
Moumita Sen
This article focuses on the forging of a new iconography for Mahishasur, a ‘demon’ in Hindu mythology who was reclaimed by indigenous communities both as a ‘god’ and as a champion of their political autonomy. The public political ritual of venerating Mahishasur was deemed blasphemous by the Hindu nationalist party in power. Among clay-modellers of Bengal, the dominant ‘demon’ image of Mahishasur embodies the highly-valued skill of Naturalistic sculpture; but the movement needed a new benevolent image. Through interviews with image-makers and organisers of this political ritual in several villages of West Bengal, I will show how local aesthetic ideals of masculinity, virtue, and political ideology are expressed in the new aesthetic form(s) and iconographies of this emerging hero of Indian politics.
{"title":"From demon to deity: Forging a new iconography for Mahishasur","authors":"Moumita Sen","doi":"10.1177/13591835221116708","DOIUrl":"https://doi.org/10.1177/13591835221116708","url":null,"abstract":"This article focuses on the forging of a new iconography for Mahishasur, a ‘demon’ in Hindu mythology who was reclaimed by indigenous communities both as a ‘god’ and as a champion of their political autonomy. The public political ritual of venerating Mahishasur was deemed blasphemous by the Hindu nationalist party in power. Among clay-modellers of Bengal, the dominant ‘demon’ image of Mahishasur embodies the highly-valued skill of Naturalistic sculpture; but the movement needed a new benevolent image. Through interviews with image-makers and organisers of this political ritual in several villages of West Bengal, I will show how local aesthetic ideals of masculinity, virtue, and political ideology are expressed in the new aesthetic form(s) and iconographies of this emerging hero of Indian politics.","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":"28 1","pages":"106 - 130"},"PeriodicalIF":0.9,"publicationDate":"2022-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42724424","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-01DOI: 10.1177/13591835211066811
Zhengyi Ma
This article analyses how Han buyers’ perception of and desire for the qualia—sensuous qualities—of Pu’er tea affects how ethnic minority producers perceive and make the tea. As a defining aspect of the consumers' experiences with ancient Pu’er tea, these qualia were invented and emphasised as part of the elite Chinese tea culture by Han traders and consumers. While the Bulang people's traditional way of making and using Pu’er tea related more to its economic and symbolic values than to its perceived effects on the body, in response to China's rapid marketisation they had to learn to sense the qualia rooted in a Han lexicon and philosophy and then acquire new skills to produce them. The paper argues that sensorial experience as a cultural dimension of tea has created new layers within Bulang people's encounters with the modern market.
{"title":"Making “Senses”: The qualia of Pu’er tea and sensorial encounters between tea producers and traders in southwest China","authors":"Zhengyi Ma","doi":"10.1177/13591835211066811","DOIUrl":"https://doi.org/10.1177/13591835211066811","url":null,"abstract":"This article analyses how Han buyers’ perception of and desire for the qualia—sensuous qualities—of Pu’er tea affects how ethnic minority producers perceive and make the tea. As a defining aspect of the consumers' experiences with ancient Pu’er tea, these qualia were invented and emphasised as part of the elite Chinese tea culture by Han traders and consumers. While the Bulang people's traditional way of making and using Pu’er tea related more to its economic and symbolic values than to its perceived effects on the body, in response to China's rapid marketisation they had to learn to sense the qualia rooted in a Han lexicon and philosophy and then acquire new skills to produce them. The paper argues that sensorial experience as a cultural dimension of tea has created new layers within Bulang people's encounters with the modern market.","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":"28 1","pages":"40 - 62"},"PeriodicalIF":0.9,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48716820","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-10DOI: 10.1177/13591835221092085
T. Ingold, E. Carpenter, A. Seeger, P. Stoller
Ingold T (2000) The Perception of the Environment: Essays on Livelihood, Dwelling and Skill. London: Routledge. Ingold T (2001) ‘From the transmission of representations to the education of attention’. In: Whitehouse H (ed) The Debated Mind: Evolutionary Psychology Versus Ethnography. Oxford: Berg, pp.113–153. Ingold T (2011) Being Alive: Essays on Movement, Knowledge and Description. New York and London: Routledge. Ingold T (2013) Making: Anthropology, Archaeology, Art and Architecture. New York and London: Routledge. Ingold T (2015) The Life of Lines. New York and London: Routledge. Ingold T 2016. Evolution and Social Life, New Edition. New York and London: Routledge. Ingold T (2018) ‘From the north with my cello, or, five propositions on beauty’. In: Bunn S (ed) Anthropology and Beauty: From Aesthetics to Creativity. New York and London: Routledge, 449–464. Ingold T (2007a) Lines: A Brief History. New York and London: Routledge. Ingold T (2007b) Materials against materiality. Archaeological Dialogues 14: 1–16. Merleau-Ponty M (1962) Phenomenology of Perception, Translated by Colin Smith. London: Routledge & Kegan Paul. Merleau-Ponty M (1964) ‘Eye and mind’, trans. Carleton Dallery. In: Edie JM (ed) The Primacy of Perception, and Other Essays on Phenomenological Psychology, the Philosophy of Art, History and Politics. Evanston, IL: Northwestern University Press, 159–190. Sahlins M (1976) Culture and Practical Reason. IL: University of Chicago Press: Chicago.
{"title":"Response to Tim Ingold","authors":"T. Ingold, E. Carpenter, A. Seeger, P. Stoller","doi":"10.1177/13591835221092085","DOIUrl":"https://doi.org/10.1177/13591835221092085","url":null,"abstract":"Ingold T (2000) The Perception of the Environment: Essays on Livelihood, Dwelling and Skill. London: Routledge. Ingold T (2001) ‘From the transmission of representations to the education of attention’. In: Whitehouse H (ed) The Debated Mind: Evolutionary Psychology Versus Ethnography. Oxford: Berg, pp.113–153. Ingold T (2011) Being Alive: Essays on Movement, Knowledge and Description. New York and London: Routledge. Ingold T (2013) Making: Anthropology, Archaeology, Art and Architecture. New York and London: Routledge. Ingold T (2015) The Life of Lines. New York and London: Routledge. Ingold T 2016. Evolution and Social Life, New Edition. New York and London: Routledge. Ingold T (2018) ‘From the north with my cello, or, five propositions on beauty’. In: Bunn S (ed) Anthropology and Beauty: From Aesthetics to Creativity. New York and London: Routledge, 449–464. Ingold T (2007a) Lines: A Brief History. New York and London: Routledge. Ingold T (2007b) Materials against materiality. Archaeological Dialogues 14: 1–16. Merleau-Ponty M (1962) Phenomenology of Perception, Translated by Colin Smith. London: Routledge & Kegan Paul. Merleau-Ponty M (1964) ‘Eye and mind’, trans. Carleton Dallery. In: Edie JM (ed) The Primacy of Perception, and Other Essays on Phenomenological Psychology, the Philosophy of Art, History and Politics. Evanston, IL: Northwestern University Press, 159–190. Sahlins M (1976) Culture and Practical Reason. IL: University of Chicago Press: Chicago.","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":"27 1","pages":"340 - 344"},"PeriodicalIF":0.9,"publicationDate":"2022-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48027311","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-09DOI: 10.1177/13591835221088501
D. Howes
This article presents a defense of the concept of materiality in the face of Tim Ingold’s critique of the concept as part of his “efforts to restore anthropology to life” in Being Alive and elsewhere. While acknowledging the forcefulness of Ingold’s stress on the “liveliness” of materials, and doctrine of perception “as action” (not representation), it critiques the way he neuters the perceiving subject, abstracts the senses, disregards the sensuous pleasures of making, and elides the sensori-social life of things. Three case studies are presented by way of illustration: the sensorial archaeology of perception, the “exuberant materiality” of the Byzantine bas-relief metal icon, and the tactility of “ladies’ craftwork” in the eighteenth and nineteenth century. In place of Ingold’s ideal-typical figures – the rootless wayfarer, the skilled craftsman – this article brings out the situatedness of the human subject within a particular tradition, or sensory and social regime, and how this mediates their construction and perception of things and other persons.
{"title":"In defense of materiality: Attending to the sensori-social life of things","authors":"D. Howes","doi":"10.1177/13591835221088501","DOIUrl":"https://doi.org/10.1177/13591835221088501","url":null,"abstract":"This article presents a defense of the concept of materiality in the face of Tim Ingold’s critique of the concept as part of his “efforts to restore anthropology to life” in Being Alive and elsewhere. While acknowledging the forcefulness of Ingold’s stress on the “liveliness” of materials, and doctrine of perception “as action” (not representation), it critiques the way he neuters the perceiving subject, abstracts the senses, disregards the sensuous pleasures of making, and elides the sensori-social life of things. Three case studies are presented by way of illustration: the sensorial archaeology of perception, the “exuberant materiality” of the Byzantine bas-relief metal icon, and the tactility of “ladies’ craftwork” in the eighteenth and nineteenth century. In place of Ingold’s ideal-typical figures – the rootless wayfarer, the skilled craftsman – this article brings out the situatedness of the human subject within a particular tradition, or sensory and social regime, and how this mediates their construction and perception of things and other persons.","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":"27 1","pages":"313 - 335"},"PeriodicalIF":0.9,"publicationDate":"2022-05-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45672691","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-09DOI: 10.1177/13591835221092084
T. Ingold
{"title":"Response to David Howes","authors":"T. Ingold","doi":"10.1177/13591835221092084","DOIUrl":"https://doi.org/10.1177/13591835221092084","url":null,"abstract":"","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":"27 1","pages":"336 - 340"},"PeriodicalIF":0.9,"publicationDate":"2022-05-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45750208","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-09DOI: 10.1177/13591835221090603
Victoria L. Rovine
Through close analysis of interwar French representations of the pith helmet, both visual and textual, I trace the array of significations to which this single form of material culture was harnessed as it moved between France and Afrique Occidentale Française. Though born of a vulnerability specific to white, European bodies, this headwear's distinctive, recognizable form became an emblem of imperial power for those same bodies. This imperial connotation propelled the helmet into dress practices on the other side of the colonial divide, where West African consumers brought further layers of semantic complexity to this headwear's colonial connotations. A select few West Africans wore pith helmets to signify their status as adjuncts to the French administration, thus extending that power. Others took up the pith helmet in defiance of French sartorial norms, bringing its associations with elite status into their own dress systems. Wherever it appeared, the pith helmet alluded to an elsewhere. In France, the helmet conjured the steamy climate of the colonies; in the colonies this headwear invoked the metropole and its administration of colonial subjects. My analysis demonstrates the complex roles of this key element of colonial material culture, which moved between colony to metropole, both projecting European power and revealing the precarity of that power.
{"title":"Pith and power: Colonial style in France and French West Africa","authors":"Victoria L. Rovine","doi":"10.1177/13591835221090603","DOIUrl":"https://doi.org/10.1177/13591835221090603","url":null,"abstract":"Through close analysis of interwar French representations of the pith helmet, both visual and textual, I trace the array of significations to which this single form of material culture was harnessed as it moved between France and Afrique Occidentale Française. Though born of a vulnerability specific to white, European bodies, this headwear's distinctive, recognizable form became an emblem of imperial power for those same bodies. This imperial connotation propelled the helmet into dress practices on the other side of the colonial divide, where West African consumers brought further layers of semantic complexity to this headwear's colonial connotations. A select few West Africans wore pith helmets to signify their status as adjuncts to the French administration, thus extending that power. Others took up the pith helmet in defiance of French sartorial norms, bringing its associations with elite status into their own dress systems. Wherever it appeared, the pith helmet alluded to an elsewhere. In France, the helmet conjured the steamy climate of the colonies; in the colonies this headwear invoked the metropole and its administration of colonial subjects. My analysis demonstrates the complex roles of this key element of colonial material culture, which moved between colony to metropole, both projecting European power and revealing the precarity of that power.","PeriodicalId":46892,"journal":{"name":"Journal of Material Culture","volume":"27 1","pages":"280 - 312"},"PeriodicalIF":0.9,"publicationDate":"2022-05-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44646096","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：