This volume examines an often taken for granted concept-that of the concept itself. How do we picture what concepts are, what they do, how they arise in the course of everyday life? Challenging conventional approaches that treat concepts as mere tools at our disposal for analysis, or as straightforwardly equivalent to signs to be deciphered, the anthropologists and philosophers in this volume turn instead to the ways concepts are already intrinsically embedded in our forms of life and how they constitute the very substrate of our existence as humans who lead lives in language. Attending to our ordinary lives with concepts requires not an ascent from the rough ground of reality into the skies of theory, but rather acceptance of the fact that thinking is congenital to living with and through concepts. The volume offers a critical and timely intervention into both contemporary philosophy and anthropological theory by unsettling the distinction between thought and reality that continues to be too often assumed and showing how the supposed need to grasp reality may be replaced by an acknowledgement that we are in its grip. Contributors: Jocelyn Benoist, Andrew Brandel, Michael Cordey, Veena Das, Rasmus Dyring and Thomas Schwarz Wentzer, Michael D. Jackson, Michael Lambek, Sandra Laugier, Marco Motta, Michael J. Puett, and Lotte Buch Segal

This volume examines an often taken for granted concept-that of the concept itself. How do we picture what concepts are, what they do, how they arise in the course of everyday life? Challenging conventional approaches that treat concepts as mere tools at our disposal for analysis, or as straightforwardly equivalent to signs to be deciphered, the anthropologists and philosophers in this volume turn instead to the ways concepts are already intrinsically embedded in our forms of life and how they constitute the very substrate of our existence as humans who lead lives in language. Attending to our ordinary lives with concepts requires not an ascent from the rough ground of reality into the skies of theory, but rather acceptance of the fact that thinking is congenital to living with and through concepts. The volume offers a critical and timely intervention into both contemporary philosophy and anthropological theory by unsettling the distinction between thought and reality that continues to be too often assumed and showing how the supposed need to grasp reality may be replaced by an acknowledgement that we are in its grip. Contributors: Jocelyn Benoist, Andrew Brandel, Michael Cordey, Veena Das, Rasmus Dyring and Thomas Schwarz Wentzer, Michael D. Jackson, Michael Lambek, Sandra Laugier, Marco Motta, Michael J. Puett, and Lotte Buch Segal

What does it mean to live in time, between the unforeseeable and the irreversible? In The Varieties of Temporal Experience, Michael Jackson demonstrates the significance of a phenomenology of time for ethnography, philosophy, and history through a multifaceted consideration of the gap between our cultural representations of temporality and the bewildering multiplicity of our experience of being-in-time. Jackson explores temporality in a subjective mode as a form of literary anthropology. The first part of the book tells the story of John Joseph Pawelka, whose 1910 escape from prison and subsequent disappearance became one of New Zealand's great unsolved mysteries, discussing what it reveals about the interplay of popular stories, hidden histories, and media narratives in constructing allegories of national and moral identity. In the second, Jackson reflects on journeys up and down the islands of New Zealand, touching on the ways that personal stories are interwoven with social and historical events. Throughout this groundbreaking book, Jackson juxtaposes philosophy, history, and ethnography in an attempt to do justice to the extraordinary variety of temporal experience, at the same time exploring the ethical and existential quandaries that arise from the complexity of lived time.

How are we to think of works of art? Rather than treat art as an expression of individual genius, market forces, or aesthetic principles, Michael Jackson focuses on how art effects transformations in our lives. Art opens up transitional, ritual, or utopian spaces that enable us to reconcile inward imperatives and outward constraints, thereby making our lives more manageable and meaningful. Art allows us to strike a balance between being actors and being acted upon. Drawing on his ethnographic fieldwork in Aboriginal Australia and West Africa, as well as insights from psychoanalysis, religious studies, literature, and the philosophy of art, Jackson deploys an extraordinary range of references-from Bruegel to Beuys, Paleolithic art to performance art, Michelangelo to Munch-to explore the symbolic labor whereby human beings make themselves, both individually and socially, out of the environmental, biographical, and physical materials that affect them: a process that connects art with gestation, storytelling, and dreaming and illuminates the elementary forms of religious life.

Island in the Stream introduces an original genre of ethnographic history as it follows a community on Mayotte, an East African island in the Mozambique Channel, through eleven periods of fieldwork between 1975 and 2015. Over this 40-year span Mayotte shifted from a declining and neglected colonial backwater to a full departement of the French state. In a highly unusual postcolonial trajectory, citizens of Mayotte demanded this incorporation within France rather than joining the independent republic of the Comoros. The Malagasy-speaking Muslim villagers Michael Lambek encountered in 1975 practiced subsistence cultivation and lived without roads, schools, electricity, or running water; today they are educated citizens of the EU who travel regularly to metropolitan France and beyond. Offering a series of ethnographic slices of life across time, Island in the Stream highlights community members' ethical engagement in their own history as they looked to the future, acknowledged the past, and engaged and transformed local forms of sociality, exchange, and ritual performance. This is a unique account of the changing horizons and historical consciousness of an African community and an intimate portrait of the inhabitants and their concerns, as well as a glimpse into the changing perspective of the ethnographer.

What does it mean to live in time, between the unforeseeable and the irreversible? In The Varieties of Temporal Experience, Michael Jackson demonstrates the significance of a phenomenology of time for ethnography, philosophy, and history through a multifaceted consideration of the gap between our cultural representations of temporality and the bewildering multiplicity of our experience of being-in-time. Jackson explores temporality in a subjective mode as a form of literary anthropology. The first part of the book tells the story of John Joseph Pawelka, whose 1910 escape from prison and subsequent disappearance became one of New Zealand's great unsolved mysteries, discussing what it reveals about the interplay of popular stories, hidden histories, and media narratives in constructing allegories of national and moral identity. In the second, Jackson reflects on journeys up and down the islands of New Zealand, touching on the ways that personal stories are interwoven with social and historical events. Throughout this groundbreaking book, Jackson juxtaposes philosophy, history, and ethnography in an attempt to do justice to the extraordinary variety of temporal experience, at the same time exploring the ethical and existential quandaries that arise from the complexity of lived time.

Island in the Stream introduces an original genre of ethnographic history as it follows a community on Mayotte, an East African island in the Mozambique Channel, through eleven periods of fieldwork between 1975 and 2015. Over this 40-year span Mayotte shifted from a declining and neglected colonial backwater to a full d partement of the French state. In a highly unusual postcolonial trajectory, citizens of Mayotte demanded this incorporation within France rather than joining the independent republic of the Comoros. The Malagasy-speaking Muslim villagers Michael Lambek encountered in 1975 practiced subsistence cultivation and lived without roads, schools, electricity, or running water; today they are educated citizens of the EU who travel regularly to metropolitan France and beyond. Offering a series of ethnographic slices of life across time, Island in the Stream highlights community members' ethical engagement in their own history as they looked to the future, acknowledged the past, and engaged and transformed local forms of sociality, exchange, and ritual performance. This is a unique account of the changing horizons and historical consciousness of an African community and an intimate portrait of the inhabitants and their concerns, as well as a glimpse into the changing perspective of the ethnographer.

Covering a period of over 100 years, Making Progress explores gay and lesbian history through 12 plays. Starting from the isolation of hidden romances kept secret behind closed doors and revealed only in diaries and carefully worded letters; to the great migration towards the big cities during war times where gay communities began to form; battling Hollywood's fantasy of America; fighting the anti-gay military policy and unjust legal ramifications; bursting forth with the sexual revolution and facing the onslaught of the AIDS epidemic; finding acceptance, but still battling for equal rights such as same sex marriage and the repeal of sodomy laws-Making Progress celebrates the gay men and women who created the modern gay community.

Covering the first five years of the new millennium, New York Stages paints a vivid picture of the contemporary theatre scene in New York City. With a combination of critical reviews and anecdotal stories, this semi-autobiographical account depicts the vast scope of New York entertainment. Included are reviews of dance performances, operas, concerts, fringe theatre and Broadway. This colorful portrait compares and contrasts the golden age of Broadway to today's theatre scene, as well as leading the reader through the roller coaster experience of trying to work as a theatre artist in New York. Along the way, attention is given to several theatre artists as they work their way through the crazy world of show business-auditions, day jobs, successes and stumbling blocks. From the actress who just arrived in town to the director winning his first Tony Award, from the myriad of Off Off Broadway plays to the glory of a Broadway hit-the first five years of the new millennium are brought to life in this journal.