Queer Sonic Fingerprint is the multimodal result of a collaboration between anthropologist Isabel Bredenbröker and sound artist Adam Pultz Melbye. Our work embarked from the question of how the sonic as a register of making and experiencing can inform queer relations in the context of ethnographic collections.
All work in ethnographic collections was informed by conversations with curators about the ethical appropriateness of engaging with artifacts. This included considerations of indigenous intellectual property, sacred functions, and cultural belonging statuses of artifacts. We have chosen to engage with artifacts where no conflict of interest could be identified to the best of our own and the curator's knowledge. We are aware that this knowledge may not be comprehensive.
{"title":"“Queer Sonic Fingerprint”—Listening to speculative queer relations in ethnographic collections","authors":"Isabel Bredenbröker, Adam Pultz Melbye","doi":"10.1111/anhu.70036","DOIUrl":"10.1111/anhu.70036","url":null,"abstract":"<p>Queer Sonic Fingerprint is the multimodal result of a collaboration between anthropologist Isabel Bredenbröker and sound artist Adam Pultz Melbye. Our work embarked from the question of how the sonic as a register of making and experiencing can inform queer relations in the context of ethnographic collections.</p><p>All work in ethnographic collections was informed by conversations with curators about the ethical appropriateness of engaging with artifacts. This included considerations of indigenous intellectual property, sacred functions, and cultural belonging statuses of artifacts. We have chosen to engage with artifacts where no conflict of interest could be identified to the best of our own and the curator's knowledge. We are aware that this knowledge may not be comprehensive.</p>","PeriodicalId":53597,"journal":{"name":"Anthropology and Humanism","volume":"50 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2025-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/anhu.70036","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144740327","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Priyanka Borpujari, Ian M. Cook, Çiçek İlengiz, Fiona Murphy, Julia Offen, Johann Sander Puustusmaa, Eva van Roekel, Richard Thornton, Susan Wardell
<p>Why begin here? Why this story, this tone, this trace of Bohannan's work? Because this essay is about creative citation, and about the stakes of form—what we borrow, what we honor, what we let speak through us. The passage above is not an ornament. It is not a clever Easter egg for anthropologists who happen to have read <i>Return to Laughter</i>. It is an opening argument, delivered in the language of literary mimicry. It performs the very citational ethics this essay advocates: citation as entanglement, not extraction; as homage, not possession; as a quiet form of transmission that speaks to influence, resonance, and kinship between texts.</p><p>And yes, it is disorienting. That, too, is deliberate. Creative work often is. Unlike academic citations, which promise clarity and legibility, creative references resist that neatness. They pull at something deeper: recognition, unease, curiosity. The discomfort here is not a failure—it is an opening. A way to signal that we are about to enter a conversation not about how to cite, but <i>why</i> to cite differently. And what becomes possible when we do so.</p><p><i>Return to Laughter</i> was one of the earliest recognized attempts to smuggle the real contradictions of fieldwork—its absurdities, its ambiguities, its ethical failures—into narrative form. It turned anthropological knowledge into fiction not to fictionalize the truth, but to show how unstable, relational, and storied the truth always already was. We borrow it here not to revive a canon, but to unsettle it. To take that early experiment in form and let it resonate inside new terrain: a smuggling route, a borderland, a different kind of field.</p><p>This act of adaptation becomes a kind of “unfootnoted” citation—a citation not of content, but of <i>method</i>. A way of saying: form matters. Mood matters. Lineage matters. What if our citational practices could hold all that, too?</p><p>So, we begin here: with mimicry as a method. With a borrowed opening that neither claims nor conceals its origin, but lets it shimmer in a new context. From here, we will unfold what it might mean to reference creative work not just as evidence, but as atmosphere, rhythm, rupture. We will ask what citation might become if we allowed it to breathe. To echo. To feel.</p><p>And so, we turn, slowly, toward the tangle. Because to cite is never merely to reference; it is to trace and retrace the filaments of an epistemic web, a web that binds and blinds in equal measure. Citation is architecture: scaffolding the edifice of legitimacy, holding up who gets to be seen as foundational, whose words endure, whose absence goes unnoticed.</p><p>These absences are not incidental. They're structural, a consequence of how power circulates—who gets remembered, who gets misfiled, who gets called decorative, and who gets called theoretical. Citation is not only the history of ideas—it is the history of exclusion.</p><p>In creative anthropology, these exclusions take on another
为什么从这里开始？为什么这个故事，这种语气，博汉南作品的痕迹？因为这篇文章是关于创造性的引用，关于形式的利害关系——我们借用什么，我们尊重什么，我们让什么通过我们说话。上面的文章不是装饰。对于碰巧读过《回归欢笑》的人类学家来说，这可不是一个聪明的彩蛋。这是一个开场的论点，用文学模仿的语言表达出来。它体现了本文所倡导的引用伦理：引用是纠缠，而不是提取；作为敬意，而不是占有；作为一种安静的传播形式，讲述文本之间的影响、共鸣和亲缘关系。是的，它让人迷失方向。这也是有意为之。创造性的工作往往是这样。学术引用保证清晰易读，而创造性参考文献不像学术引用那样整洁。它们牵动着更深层次的东西：认同、不安、好奇。这里的不适不是失败，而是一个契机。这是一种信号，表明我们即将进入一场对话，不是关于如何引用，而是为什么要用不同的方式引用。当我们这样做的时候，会有什么可能。《欢笑归来》是最早被认可的试图将田野工作的真实矛盾——它的荒谬、它的模棱两可、它的伦理失败——偷运到叙事形式中的作品之一。它把人类学知识变成了虚构，不是为了虚构真相，而是为了表明真相是多么不稳定、相互关联和故事化。我们在这里借用它，不是为了复兴一门经典，而是为了扰乱它。把早期的实验变成形式，让它在新的领域产生共鸣：一条走私路线，一个边境地带，一个不同的领域。这种适应行为变成了一种“无脚注”的引用——不是内容的引用，而是方法的引用。也就是说：形式很重要。心情很重要。血统问题。如果我们的引用实践也能包含所有这些呢？所以，我们从这里开始：模仿作为一种方法。用一个借来的开头，既不宣称也不隐瞒它的起源，而是让它在一个新的背景下闪闪发光。从这里开始，我们将揭示将创造性工作不仅仅作为证据，而是作为氛围，节奏，断裂的参考可能意味着什么。我们会问，如果我们让引文呼吸，它会变成什么样。回声。来的感觉。于是，我们慢慢转向纠结的地方。因为引用绝不仅仅是参考；它是在追踪和重新追踪一张认知之网的细丝，一张同样程度上束缚和蒙蔽人的网。引用是一种建筑：架起合法性大厦的脚手架，支撑着谁被视为奠基人，谁的话经久不衰，谁的缺席不被注意。这些缺席并非偶然。它们是结构性的，是权力循环的结果——谁被记住了，谁被错归档了，谁被称为装饰性的，谁被称为理论性的。引用不仅是思想的历史，也是排斥的历史。在创造性人类学中，这些排除完全具有另一种性质。在这里，在图像、形式、声音和表演的不受约束的区域，省略不是简单地发生的。它们是内置的。实验形式——电影、视觉散文、具体化的民族志——被定位为多余的、不受约束的数据，美得不严肃，严肃得不美。他们拒绝表现得像“正统的”学者——脚注、静态、说明文——引起的不是好奇，而是怀疑。他们的拒绝被解读为反叛，而不是严厉。我们知道，反抗很少得到回报。这门学科不仅通过它包括什么，而且通过它如何包括来管理它的边界。严厉变成了棍棒。引文变成了一扇门。错觉是知识是累积的、整齐的、可追溯的。但创造性的工作提醒我们，知识也是被感知的、断裂的、无法控制的、令人困惑的。这就是为什么它经常不被引用的原因——不是因为它缺乏实质内容，而是因为它威胁到那些假装定义实质内容的结构。在这种情况下，被排除在引用之外不仅仅是被忽视。它将被覆盖。让你的作品被声称组织这一领域的系统弄得难以辨认。创造性的工作会故意把这个系统搞得一团糟。系统的反应是假装它从未发生过。但光有抵抗是不够的。仅仅注意到这些排除并不会改变它们的效力。创造性地引用并不是在已经臃肿的参考书目上再添一行。它会破坏列表本身。在某些情况下，要在上下文中提及，但更重要的是要问：如果引用不是义务的分类账，而是共鸣的地图呢？如果它既能被感知又能被阅读呢？这意味着我们必须拒绝象征性的表现，即保留经典不变的包容表现。因为把一件创造性的作品作为装饰，作为多样性，作为天赋，是在扼杀它的力量。它要拔掉牙齿。恰当地引用创造性作品——小心地引用——完全是另一回事。它要求我们不是提取性的，而是关系性的。不是作为一个例子，而是作为一个对话者。 给一件有创意的作品命名是不够的。我们必须让它在我们的工作中说话，改变我们的语气，打破我们的论点，推迟我们的结论。我们必须让它的节奏打断我们的语法。这不仅仅是政治包容的问题。它是关于知识本身的条件。当我们这样做的时候——当我们不仅引用谁说了什么，而且引用说的方式，它的感觉，它对我们的影响——有些事情会发生变化。这门学科的边缘开始磨损。新的认识论成为可能。档案馆又开始恢复活力了。所以，我们不提倡引文指南整理这一切，为创造性的工作创造一个新的协议，把它塞进一个官僚主义的脚注。这不是重点。这个学科不需要更多的引用规则。它需要更多的引用勇气。更多的引用实验。所以我们提供两种手势。没有指导方针。没有政策。只是开口。首先是模仿。也就是说，通过回声来引用。通过一个手势，一个结构，一道光线。通过模仿，那不是偷窃，而是致敬。这就是本文的开头所尝试的：重塑博汉南的《重返欢笑》，不是要窃取她的声音，而是要用不同的方式来表达。不是为了复制她的叙事，而是将她的形式推向新的领域。这是一种引语的低语，而不是呐喊。其次是引用作品的创造力——不仅仅是它的数据、它的洞察力、它的“外卖”，还有它使之成为可能的思维模式。不仅仅是指一件作品说了什么，还要指它做了什么——它如何移动，它如何断裂，它如何拒绝。下面将说明这些方法。他们并不完美。它们不可能适合每一篇文章或每一位读者。它们不是系统；它们是迹象，是建议。他们指出，引用实践是大气的，情感的，和未完成的。它存在于姿态和质感中。这让读者相信，他们会自己摸索前进的道路。如果这一切都是从博汉南开始的，或许有必要说：《重返欢笑》从来都不是关于回归的。它是关于当你无法回头时会发生什么。当字段改变您时，您需要尝试找到一个可以容纳这种变化的表单。也许这就是我们要做的。试图找到一种形式——引用，声音，关系——可以承载我们现在所知道的，以及我们是如何知道的。创造性的作品抵制传统引用的简洁线条；它们不能整齐地放在脚注和参考书目中，而这些书目和参考书目将知识规范为传统的结构和可管理的形式。他们需要另一种参与，一种承认他们正式和情感力量的参与——不是作为理论的装饰补充，而是作为他们自己的理论对话者。在一篇学术文章中引用一首诗、一部电影、一场表演，不仅仅是命名它，而是承认它的力量——把它看作是影响思想和情感的东西，而不仅仅是说明它。在这样做的过程中，我们进入了一个脆弱但激进的空间，在这个空间里，知识不是一种固定的商品，而是一种活生生的、不断变化的实践，它会随着每次相遇、每次新的呈现、每次新的读者、每次新的观众而改变形状。在展示这些例子之前，重要的是要明确什么是利害攸关的。当我们通过模仿引用创造性作品时，我们并不假设每个读者都能认出原作。也不需要认可。重要的是相遇：发出先前声音的回声，引发好奇心的痕迹。对于那些不熟悉来源的人来说，模仿应该是一种开放而不是排斥。它应该指向另一部作品，另一种认识方式，并邀请读者去追求它。在接下来的例子中，模仿行为不仅是一种敬意，也是一种教学方式——在可能的情况下鼓励认可，在必要的情况下鼓励探索。下面的剧照摘自Eva van Roekel即将上映的散文电影《坠落》（Falling），该片探讨了民族志学者与阿根廷反人类罪相关
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Memoirists are often conduits of the bleak, raw realities of war. The Best We Could Do, an illustrated memoir by American-Vietnamese graphic novelist Thi Bui, is a brilliant blend of her parents' coming-of-age story in Vietnam and her experiences as an immigrant. The book explores the horrors of war, the harrowing journey of migration, and the repercussions of displacement on a child and her family, which cannot be reversed. The traumatic events that her parents endured return to haunt them throughout the narrative. These events mark a rupture in their psyche, thereby curbing their ability to make sense of these daunting experiences. The paper attempts to explore how intergenerational trauma affects the protagonist and how the author employs the medium of graphic narrative as an engaging verbal, visual space to articulate her emotions.
回忆录往往是反映战争残酷残酷现实的渠道。《我们能做的最好的事》（The Best We Could Do）是美籍越南裔图画小说家Thi Bui的一本带插图的回忆录，书中巧妙地融合了她父母在越南的成长故事和她作为移民的经历。这本书探讨了战争的恐怖，移民的痛苦旅程，以及流离失所对一个孩子和她的家庭的影响，这些影响是无法逆转的。她父母所经历的创伤性事件在整个故事中一直困扰着他们。这些事件标志着他们精神上的破裂，从而限制了他们理解这些令人生畏的经历的能力。本文试图探讨代际创伤是如何影响主人公的，以及作者如何利用图像叙事作为一种引人入胜的语言和视觉空间来表达她的情感。
{"title":"War, migration, and intergenerational trauma: An analysis of Thi Bui's The Best We Could Do","authors":"Anjana Eapen, Dr. Luke Gerard Christie","doi":"10.1111/anhu.70032","DOIUrl":"https://doi.org/10.1111/anhu.70032","url":null,"abstract":"<p>Memoirists are often conduits of the bleak, raw realities of war. The <i>Best We Could Do,</i> an illustrated memoir by American-Vietnamese graphic novelist Thi Bui, is a brilliant blend of her parents' coming-of-age story in Vietnam and her experiences as an immigrant. The book explores the horrors of war, the harrowing journey of migration, and the repercussions of displacement on a child and her family, which cannot be reversed. The traumatic events that her parents endured return to haunt them throughout the narrative. These events mark a rupture in their psyche, thereby curbing their ability to make sense of these daunting experiences. The paper attempts to explore how intergenerational trauma affects the protagonist and how the author employs the medium of graphic narrative as an engaging verbal, visual space to articulate her emotions.</p>","PeriodicalId":53597,"journal":{"name":"Anthropology and Humanism","volume":"50 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2025-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145751112","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Futures after progress: Hope and doubt in late industrial Baltimore By Chloe Ahmann. Chicago: University of Chicago Press, 2024. pp. 342, illustrations, notes, references, index","authors":"Leah Zani","doi":"10.1111/anhu.70034","DOIUrl":"https://doi.org/10.1111/anhu.70034","url":null,"abstract":"","PeriodicalId":53597,"journal":{"name":"Anthropology and Humanism","volume":"50 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2025-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145751108","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
When the hypotheses and presumptions underlying an ethnographic fieldwork project are found to be “wrong,” why can this be productive for research? By tying my autoethnographic narrative of having my doctoral research seemingly fall apart to anthropological conversations about reflexivity, this essay explores how the continuity of ethnography and its object demands a critical engagement with what it means to get things “wrong.” Grounded in my ethnographic research on the Japanese lifestyle and philosophy of healthy living known as “macrobiotics (makurobiotikkusu),” I detail how my discovery of antisemitic texts by macrobiotics' founder led to ethical dilemmas and shifting interpersonal relationships that curtailed my intended dissertation fieldwork. Placing my fieldwork into dialogue both with anthropology's well-worn textual strategy of defamiliarization and Russian writer Viktor Shklovsky's idea of “enstrangement (Berlina, 2017),” I illuminate how the contingency of being “wrong” indexes the very possibility of ethnographic insight: ethnographers' relationships with others and embeddedness in a shared cultural context.
{"title":"Getting ethnographic “wrongs” right: Continuity, reflexivity, and possibility in fieldwork dilemmas","authors":"Dylan H. O'Brien PhD Candidate","doi":"10.1111/anhu.70033","DOIUrl":"https://doi.org/10.1111/anhu.70033","url":null,"abstract":"<p>When the hypotheses and presumptions underlying an ethnographic fieldwork project are found to be “wrong,” why can this be productive for research? By tying my autoethnographic narrative of having my doctoral research seemingly fall apart to anthropological conversations about reflexivity, this essay explores how the continuity of ethnography and its object demands a critical engagement with what it means to get things “wrong.” Grounded in my ethnographic research on the Japanese lifestyle and philosophy of healthy living known as “macrobiotics (<i>makurobiotikkusu</i>),” I detail how my discovery of antisemitic texts by macrobiotics' founder led to ethical dilemmas and shifting interpersonal relationships that curtailed my intended dissertation fieldwork. Placing my fieldwork into dialogue both with anthropology's well-worn textual strategy of defamiliarization and Russian writer Viktor Shklovsky's idea of “enstrangement (Berlina, 2017),” I illuminate how the contingency of being “wrong” indexes the very possibility of ethnographic insight: ethnographers' relationships with others and embeddedness in a shared cultural context.</p>","PeriodicalId":53597,"journal":{"name":"Anthropology and Humanism","volume":"50 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2025-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://anthrosource.onlinelibrary.wiley.com/doi/epdf/10.1111/anhu.70033","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145751089","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Ms. MaNDy's adventures in wonderland: A review","authors":"Rich Thornton","doi":"10.1111/anhu.70028","DOIUrl":"10.1111/anhu.70028","url":null,"abstract":"","PeriodicalId":53597,"journal":{"name":"Anthropology and Humanism","volume":"50 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2025-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144740174","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In a confession letter to a past love, I reflect how our intimate relationship has affected my perception of the geopolitical conflict in Israel–Palestine. Writing from personal experiences and taking a feminist approach, I argue that entering an intimate relationship with a Palestinian man allowed me to question the biases I had acquired through Germany's politics of memory culture and the silences and taboos it has created. Living in the West Bank and being in a romantic relationship with a Palestinian man led me to witness the borders inscribed on his body and mind, uncovering the walls that have barred and “protected” me from acknowledging Palestinian suffering. Sharing a life and love with him, the borders inscribed on my partner's body became perceptible to me as they affected our relationship. I was suddenly confronted with the violence of borders I was taught to ignore. But I also learnt about resisting its violence together. As he and I undid the wall of segregation between us, my understanding and sense for Palestinian suffering sparked doubts regarding my home country's dogmatic politics toward its Holocaust memory culture as its current conception results in unquestionable support for Israel's dehumanization and brutalization of Palestinians.
{"title":"Sending an open love letter from Germany to Palestine","authors":"Author: Anonymous","doi":"10.1111/anhu.70008","DOIUrl":"10.1111/anhu.70008","url":null,"abstract":"<p>In a confession letter to a past love, I reflect how our intimate relationship has affected my perception of the geopolitical conflict in Israel–Palestine. Writing from personal experiences and taking a feminist approach, I argue that entering an intimate relationship with a Palestinian man allowed me to question the biases I had acquired through Germany's politics of memory culture and the silences and taboos it has created. Living in the West Bank and being in a romantic relationship with a Palestinian man led me to witness the borders inscribed on his body and mind, uncovering the walls that have barred and “protected” me from acknowledging Palestinian suffering. Sharing a life and love with him, the borders inscribed on my partner's body became perceptible to me as they affected our relationship. I was suddenly confronted with the violence of borders I was taught to ignore. But I also learnt about resisting its violence together. As he and I undid the wall of segregation between us, my understanding and sense for Palestinian suffering sparked doubts regarding my home country's dogmatic politics toward its Holocaust memory culture as its current conception results in unquestionable support for Israel's dehumanization and brutalization of Palestinians.</p>","PeriodicalId":53597,"journal":{"name":"Anthropology and Humanism","volume":"50 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2025-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144740176","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Worlds on fire: Multimodality as resistance","authors":"","doi":"10.1111/anhu.70030","DOIUrl":"10.1111/anhu.70030","url":null,"abstract":"","PeriodicalId":53597,"journal":{"name":"Anthropology and Humanism","volume":"50 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2025-05-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144740390","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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