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Can I dance over the bodies of the dead? On the impossibility of participant observation 我能在死人的尸体上跳舞吗?参与性观察的不可能性
Q1 Arts and Humanities Pub Date : 2025-12-25 DOI: 10.1111/anhu.70071
Sarah Hamdar

This article is an autoethnographic essay on the challenges of conducting participant observation in times of crises, both on a personal and on a national level. To summarize, I trace the evolution of my own personal research itinerary, which focuses on Beirut's leisure and clubbing scene during the internal political turmoil in Lebanon and, later on, the 2024 war with Israel. Finally, I examine the impact of these events on my very ability to conduct research, how they affected my relationship to the field and, ultimately, the decisions I needed to make. In conclusion, this essay adds to a growing body of research on ethnography in dangerous times and places: what becomes of research when research becomes impossible?

这篇文章是一篇关于在危机时期进行参与观察的挑战的自我民族志文章,无论是在个人层面还是在国家层面。总而言之,我追溯了我自己的个人研究行程的演变,主要关注黎巴嫩内部政治动荡期间贝鲁特的休闲和俱乐部场景,以及后来的2024年与以色列的战争。最后,我检查了这些事件对我进行研究的能力的影响,它们如何影响我与该领域的关系,以及最终,我需要做出的决定。总之,这篇文章增加了在危险时期和地点对民族志的研究:当研究变得不可能时,研究变成了什么?
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引用次数: 0
Multispecies Ethnography and Artful Methods. Edited by Andrea Petitt, Anke Tonnaer, Véronique Servais, Catrien Notermans, Natasha Fijn (Eds.), Winwick, Cambridgeshire, UK: The White Horse Press. 2025. pp. 210. £30.00 (softcover) 多物种人种学和巧妙的方法。编辑Andrea Petitt, Anke Tonnaer, vronique Servais, Catrien Notermans, Natasha Fijn(编),Winwick,剑桥郡,英国:白马出版社。210页。£30.00(平装)
Q1 Arts and Humanities Pub Date : 2025-12-23 DOI: 10.1111/anhu.70070
Debanjali Biswas
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引用次数: 0
Sky 天空
Q1 Arts and Humanities Pub Date : 2025-12-15 DOI: 10.1111/anhu.70067
Atreyee Majumder
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引用次数: 0
Autoethnography of mothering 母性的自我民族志
Q1 Arts and Humanities Pub Date : 2025-12-15 DOI: 10.1111/anhu.70069
Gemma M. Carney

These are four poems from a collection that burst out of me around the time of my 50th birthday. I am a social and cultural gerontologist and so 50 is a particularly significant age—it is the marker of having finally qualified as an older person, at least in physiological terms. It also signifies menopause and the end of the reproductive stage of life. That significant birthday coincided with my eldest son reaching adulthood. This confluence of life events caused me to reflect on how I have spent my adult life. The past 20 years have been dedicated to academic life, but always within the context and confines of raising a family. The pressure to perform both roles, daily and to a high standard is, perhaps, the most striking message from these poems.

这是我在50岁生日时突然想到的四首诗。我是一名社会和文化老年学专家,所以50岁是一个特别重要的年龄——它是一个标志,标志着你终于有资格成为一个老年人,至少在生理上是这样。它也标志着更年期和生命生殖阶段的结束。那个重要的生日恰逢我大儿子成年。这些生活事件的交汇使我开始反思我是如何度过我的成年生活的。在过去的20年里,我一直致力于学术生活,但总是在养家糊口的背景和范围内。每天以高标准履行这两个角色的压力,也许是这些诗中最引人注目的信息。
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引用次数: 0
Unhoused 无家可归者
Q1 Arts and Humanities Pub Date : 2025-12-09 DOI: 10.1111/anhu.70066
Mana Neyestani, Mirco Göpfert
<p><i>Unhoused</i> is a composite fieldwork document—drawn, written, layered—that emerged through collaboration between cartoonist Mana Neyestani and anthropologist Mirco Göpfert. What began as a series of interviews, drawing lessons and message exchanges gradually evolved into something less easily classifiable: a joint attempt to trace how displacement unsettles not only bodies and homes, but also narrative, memory, and authorship itself.</p><p>The resulting work moves across three interwoven registers. The first is public and discursive: a series of Wikipedia edits that reveal how identity, kinship, and truth claims are rewritten through digital struggle. The second is political and forensic: a report drawn from Neyestani's imprisonment, typed in clipped, compressed form and language. The third is intimate and disoriented: a dream sequence that distills the mood of narrative suspension, doors that open into nowhere, speech that cannot find its place. The three registers are folded together by other forms: a sketch-based dialogue, a reflective monologue, and a glossary that reframes rather than defines. Drawing, marginalia, and typographic shifts are meant to reframe how the piece is read: not as a single narrative, but as a layered encounter.</p><p>This piece was developed over the course of several years of conversation, sketching, and co-editing between Mana and Mirco, in Paris, Frankfurt and virtually. The report section draws on Mana's own records, reconstructed from memory, personal documents, and an autobiographical comic book (Neyestani, <span>2012</span>). The dialogue was adapted from chat transcripts and live conversations. The comic sequence was jointly sketched: Mana drew Mirco, and Mirco drew Mana. Drawing and layout choices were shaped in tandem with narrative and ethnographic framing.</p><p>Figures 1-11 contain the complete work, including conceptual framing, drawn dialogue, report, monologue, glossary, and dream. Each figure corresponds to a full-page layout as finalized by the authors. Grouped loosely by mode and tone: Figures 1 and 2 establish the conceptual frame; Figures 3-6 present, first, a public and then a personal version of who Mana Neyestani is; Figures 7-9 include the report, dialogue, and glossary; and Figures 10 and 11 carry the final sequence.</p><p>We are deeply grateful to the anonymous reviewers and the editorial collective of <i>Anthropology and Humanism</i> for their generous and thoughtful engagement. Their encouragement gave us confidence to take the visual and structural choices of this piece seriously. For assistance in shaping both the questions and the manuscript itself, we thank Sepide Ghorbani for her careful thinking, critical nudges, and steady support. Earlier versions of this work were presented at LMU Munich (on invitation by Eveline Dürr) and at the University of Vienna (on invitation from Tatjana Thelen). We thank both for creating space for this strange material—and the students and colleague
un住房是一个综合的田野调查文件-绘制,书写,分层-通过漫画家Mana Neyestani和人类学家Mirco Göpfert的合作出现。最初的一系列采访、总结经验教训和信息交流逐渐演变成不太容易分类的东西:一种共同的尝试,追踪流离失所如何扰乱身体和家园,还包括叙事、记忆和作者本身。由此产生的工作在三个相互交织的寄存器中移动。第一个是公开的和话语性的:维基百科的一系列编辑揭示了身份、亲属关系和真相声明是如何通过数字斗争被重写的。第二份是政治和司法方面的:一份从Neyestani的监禁中提取的报告,用剪辑、压缩的形式和语言打印出来。第三个是亲密而迷失方向的:一个梦的序列,浓缩了叙事暂停的情绪,敞开的门无处可去,言语找不到它的位置。这三个寄存器被其他形式折叠在一起:一个基于草图的对话,一个反思的独白,以及一个重新定义而不是定义的词汇表。绘画、旁注和排版的变化是为了重新构建作品的阅读方式:不是作为一个单一的叙述,而是作为一个分层的遭遇。这件作品是Mana和Mirco在巴黎、法兰克福和虚拟世界中经过几年的对话、素描和共同编辑而发展起来的。报告部分借鉴了Mana自己的记录,从记忆、个人文件和自传体漫画书中重建(Neyestani, 2012)。对话改编自聊天记录和现场对话。漫画序列是共同绘制的:玛娜画了米尔科,米尔科画了玛娜。绘图和布局选择是与叙事和民族志框架一起形成的。图1-11包含了完整的作品,包括概念框架、绘制的对话、报告、独白、词汇表和梦。每个图对应于作者最终确定的整页布局。按模式和语气松散分组:图1和图2建立了概念框架;图3-6首先展示了一个公开版本,然后是一个个人版本的Mana Neyestani;图7-9包含了报告、对话框和术语表;图10和图11携带最后的序列。我们非常感谢匿名审稿人和《人类学与人文主义》的编辑集体的慷慨和周到的参与。他们的鼓励让我们有信心认真对待这件作品的视觉和结构选择。我们感谢Sepide Ghorbani在塑造问题和手稿本身方面的帮助,感谢她的仔细思考、批判性的推动和坚定的支持。这项工作的早期版本在慕尼黑大学(应Eveline d的邀请)和维也纳大学(应Tatjana Thelen的邀请)展出。我们感谢他们为这个奇怪的材料创造了空间,也感谢他们的学生和同事,他们的慷慨比我们所能要求的要多。这项研究是由欧盟资助的。然而,所表达的观点和意见仅代表我们的观点和意见,并不一定反映欧洲联盟或欧洲研究理事会执行机构的观点和意见。欧盟和授权机构都不能对此负责。这项工作由ERC拨款101040059 (NoJoke)支持。
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引用次数: 0
Poseidon, Athena, and Demeter: Epithets and associations in the divine 波塞冬、雅典娜和得墨忒耳:神的称号和联想
Q1 Arts and Humanities Pub Date : 2025-12-04 DOI: 10.1111/anhu.70065
Anika Elema

The purpose of this paper is to look deeper into the connection between divinities, and interpret how a shift in necessity of mortals is reflected through a shift in the attributes the divine were worshipped through. In this process, it becomes more clear as to how the people of ancient Greece viewed their gods and goddesses. Through comparing literary descriptions with archaeological evidence and artistic representations, a more realistic picture of life in ancient Greek cult worship and festivals emerges. In this, we can understand not only how mortals viewed their divinities, but how their worship acted as connections between people; through worship and communal gatherings the divine brought people together in extraordinary ways. This information is useful to anyone studying history, archaeology, mythology, and anthropology. This is also extremely relevant to the philosophy of religion. By looking past surface-level assumptions and digging deeper into ancient literary descriptions, we possess the ability to uncover the deeper meaning that lies hidden within them. This studies the pantheon through time and space in conjunction with cultural, environmental, and social links that tie in with physical attributes. This anthropology of the gods as fluid figures is argued.

本文的目的是更深入地探讨神与神之间的联系,并解释如何通过神被崇拜的属性的变化来反映人的必然性的变化。在这个过程中,古希腊人如何看待他们的神和女神变得更加清晰。通过将文学描述与考古证据和艺术表现相比较,一幅更真实的古希腊祭祀和节日生活图景浮现出来。在这里,我们不仅可以理解凡人如何看待他们的神,还可以理解他们的崇拜如何作为人与人之间的联系;通过礼拜和公共集会,神以非凡的方式将人们聚集在一起。这些信息对学习历史、考古、神话和人类学的人都很有用。这也与宗教哲学密切相关。通过超越表面的假设,深入挖掘古代文学描述,我们有能力发现隐藏在其中的更深层次的含义。该研究通过时间和空间,结合与物理属性相关的文化、环境和社会联系来研究万神殿。这一人类学的神作为流动的数字是有争议的。
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引用次数: 0
Homing beyond boundaries 超越边界归巢
Q1 Arts and Humanities Pub Date : 2025-11-24 DOI: 10.1111/anhu.70061
Shuhua Chen, Kahsu Ferede, Negash Abebe Tufa, Gerawork Legesse

This volume of creative encounters, Homing beyond Boundaries, explores the lived meanings of home as expressed by Ethiopian migrants navigating displacement, war, and longing. Originating from a public dialogue at Antropologidagene in Trondheim, the project centers on poetic expressions of “homing” as embodied, affective experience rather than abstract theory. Set against the backdrop of Ethiopia's Tigray conflict (2020–2022), three contributors—Ethiopian migrants studying in Norway—share their homing journeys through stories of food, family photographs, and the fragile presence of hope. The poetic format invites readers into a shared space of recognition and resonance, illuminating the fractured, sensory textures of exile, and belonging.

这本创造性的遭遇,超越边界的家园,探讨了埃塞俄比亚移民在流离失所、战争和渴望中所表达的家的生活意义。该项目源于特隆赫姆Antropologidagene的一次公共对话,将“回家”的诗意表达作为具体化的情感体验,而不是抽象的理论。以埃塞俄比亚提格雷冲突(2020-2022)为背景,三位撰稿人——在挪威学习的埃塞俄比亚移民——通过食物故事、家庭照片和脆弱的希望分享了他们的回家之旅。诗意的形式邀请读者进入一个共享的空间,认识和共鸣,照亮了流亡和归属感的断裂,感官纹理。
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引用次数: 0
Editors’ note: The future is now 编者注:未来就是现在
Q1 Arts and Humanities Pub Date : 2025-11-17 DOI: 10.1111/anhu.70064
Pablo Ampuero-Ruiz, Priyanka Borpujari, Fiona Murphy, Julia Offen, Johann Sander Puustusmaa, Eva van Roekel, Rich Thornton, Susan Wardell
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引用次数: 0
Unwanted journeys: The politics and practice of busing migrants from Texas to Chicago 不受欢迎的旅程:从德克萨斯州到芝加哥的移民的政治和实践
Q1 Arts and Humanities Pub Date : 2025-11-17 DOI: 10.1111/anhu.70062
Sergio Lemus

By the early 2000s, and especially after September 11, 2001, the increasing surveillance on non-sovereign subjects intensified. One clear example is Texas's recent practice of busing migrants to northern cities, especially to Chicago. This article traces the emergence of this practice and analyzes the political and economic discourse surrounding it. Scholarship on border theorizing has suggested that the border has thickened, been externalized inward as well, and the policies implemented at the border are similar to those at the core of the nation-state. In this article, I argue that this strategy is part of a broader process of internal rebordering, where migrants are relocated within the country to enforce exclusion while sustaining urban economies. Migrants are often viewed as unwanted or burdensome, yet they quickly find jobs across a range of economic sectors in Chicago. By examining statements and practices from state officials and local communities, I demonstrate how internal rebordering reveals contradictions in immigration policy—exclusionary narratives coexist with a structural dependence on migrant labor—and links the busing of migrants as a novel state practice to certain genealogies in history.

到21世纪初,特别是2001年9月11日之后,对非主权主体的日益增加的监视愈演愈烈。一个明显的例子是德克萨斯州最近用巴士将移民送往北部城市,尤其是芝加哥。本文追溯了这种做法的出现,并分析了围绕它的政治和经济话语。关于边界理论的学术研究表明,边界已经变厚,也被外化到内部,在边界实施的政策与民族国家的核心政策相似。在本文中,我认为这一战略是更广泛的内部重新边界进程的一部分,即移民在国内重新安置,以在维持城市经济的同时实施排斥。移民通常被视为不受欢迎或累赘,但他们很快就能在芝加哥的各个经济部门找到工作。通过研究国家官员和地方社区的声明和实践,我展示了内部重新边界如何揭示了移民政策中的矛盾——排他性叙述与对移民劳动力的结构性依赖共存——并将移民作为一种新的国家实践与历史上的某些谱系联系起来。
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引用次数: 0
Burning trash: An essay on fieldwork, disappearance, and hunting for mushrooms 燃烧垃圾:一篇关于野外考察、失踪和寻找蘑菇的文章
Q1 Arts and Humanities Pub Date : 2025-11-17 DOI: 10.1111/anhu.70063
Claire Branigan

This essay contemplates the emotional and intellectual experience of conducting fieldwork on violence. It explores the cognitive dissonance that ethnographers must navigate as they exist in a field site, which can also be a global tourist destination. Focusing on the horror of witnessing contemporary femicide in the Buenos Aires urban margins, it weaves in and out of the past and present, wealthy and poor, periphery to the center, to ultimately land on a chance encounter with a taxi driver who survived forced disappearance during Argentina's military dictatorship. Taking place during the onset of the COVID-19 pandemic, “disappearance” and “reappearance” also serve as ways for thinking about the ephemeral nature of fieldwork and how our research can vanish and reappear over the course of years or overnight.

这篇文章思考了对暴力进行实地调查的情感和智力体验。它探讨了民族志学者必须在实地现场(也可以是全球旅游目的地)中进行导航的认知失调。影片聚焦于目睹当代布宜诺斯艾利斯城市边缘杀害女性的恐怖,在过去和现在、富人和穷人、边缘和中心之间穿梭,最终落在与一名出租车司机的偶然相遇上,他在阿根廷军事独裁统治期间被迫失踪,但幸存下来。“消失”和“再现”发生在2019冠状病毒病大流行爆发期间,也可以作为思考实地工作短暂性的方式,以及我们的研究如何在数年或一夜之间消失和重现。
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引用次数: 0
期刊
Anthropology and Humanism
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