|
Showing 1 - 12 of
12 matches in All Departments
Medical Materialities investigates possible points of
cross-fertilisation between medical anthropology and material
culture studies, and considers the successes and limitations of
both sub-disciplines as they attempt to understand places,
practices, methods, and cultures of healing. The editors present
and expand upon a definition of 'medical materiality', namely the
social impact of the agency of often mundane, at times
non-clinical, materials within contexts of health and illness, as
caused by the properties and affordances of this material. The
chapters address material culture in various clinical and
biomedical contexts and in discussions that link the body and
healing. The diverse ethnographic case studies provide valuable
insight into the way cultures of medicine are understood and
practised.
Although much has been written on the making of art objects as a
means of engaging in creative productions of the self (most
famously Alfred Gell's work), there has been very little written on
Orthodox Christianity and its use of material within religious
self-formation. Eastern Orthodox Christianity is renowned for its
artistry and the aesthetics of its worship being an integral part
of devout practice. Yet this is an area with little ethnographic
exploration available and even scarcer ethnographic attention given
to the material culture of Eastern Christianity outside the
traditional 'homelands' of the greater Levant and Eastern Europe.
Drawing from and building upon Gell's work, Carroll explores the
uses and purposes of material culture in Eastern Orthodox Christian
worship. Drawing on three years of ethnographic fieldwork in a
small Antiochian Orthodox parish in London, Carroll focusses on a
study of ecclesiastical fabric but places this within the wider
context of Orthodox material ecology in Britain. This ethnographic
exploration leads to discussion of the role of materials in the
construction of religious identity, material understandings of
religion, and pathways of pilgrimatic engagement and religious
movement across Europe. In a religious tradition characterised by
repetition and continuity, but also as sensuously tactile, this
book argues that material objects are necessary for the continual
production of Orthodox Christians as art-like subjects. It is an
important contribution to the corpus of literature on the
anthropology of material culture and art and the anthropology of
religion.
Medical Materialities investigates possible points of
cross-fertilisation between medical anthropology and material
culture studies, and considers the successes and limitations of
both sub-disciplines as they attempt to understand places,
practices, methods, and cultures of healing. The editors present
and expand upon a definition of 'medical materiality', namely the
social impact of the agency of often mundane, at times
non-clinical, materials within contexts of health and illness, as
caused by the properties and affordances of this material. The
chapters address material culture in various clinical and
biomedical contexts and in discussions that link the body and
healing. The diverse ethnographic case studies provide valuable
insight into the way cultures of medicine are understood and
practised.
This volume comprises a curated conversation between members of the
Material Culture Section of University College London Anthropology.
In laying out the state of play in the field, it challenges how the
anthropology of material culture is being done and argues for new
directions of enquiry and new methods of investigation. The
contributors consider the ramifications of specific research
methods and explore new methodological frameworks to address areas
of human experience that require a new analytical approach. The
case studies draw from a range of contexts, including digital
objects, infrastructure, data, extraterrestriality, ethnographic
curation, and medical materiality. They include timely reappraisals
of now-classical analytical models that have shaped the way we
understand the object, the discipline, knowledge formation, and the
artefact.
What happens when objects behave unexpectedly or fail to do what
they 'should'? Who defines failure? Is failure always bad? Rather
than viewing concepts such as failure, incoherence or incompetence
as antithetical to social life, this innovative new book examines
the unexpected and surprising ways in which failure can lead to
positive and creative results. Combining both theoretical and
ethnographic approaches to failure, The Material Culture of Failure
explores how failure manifests itself and operates in a variety of
contexts. The editors present ten ethnographic encounters of
failure - from areas as diverse as design, textiles, religion,
beauty, and physical failure - covering Europe, North America,
Asia, Africa, and the Arabian Gulf. Identifying common themes such
as interpersonal, national and religious articulations of power and
identity, the book shows some of the underlying assumptions that
are revealed when materials fail, designs crumble, or things
develop unexpectedly.The first anthropological study dedicated to
theorizing failure, this innovative collection offers fresh
insights based on the latest scholarship. Destined to stimulate a
new area of research, the book makes a vital contribution to
material culture studies and related social science theory.
This book draws on the work of anthropologist Alfred Gell to
reinstate the importance of the object in art and society. Rather
than presenting art as a passive recipient of the artist's
intention and the audience's critique, the authors consider it in
the social environment of its production and reception. A Return to
the Object introduces the historical and theoretical framework out
of which an anthropology of art has emerged, and examines the
conditions under which it has renewed interest. It also explores
what art 'does' as a social and cultural phenomenon, and how it can
impact alternative ways of organising and managing knowledge.
Making use of ethnography, museological practice, the intellectual
history of the arts and sciences, material culture studies and
intangible heritage, the authors present a case for the
re-orientation of current conversations surrounding the
anthropology of art and social theory. This text will be of key
interest to students and scholars in the social and historical
sciences, arts and humanities, and cognitive sciences.
What happens when objects behave unexpectedly or fail to do what
they 'should'? Who defines failure? Is failure always bad? Rather
than viewing concepts such as failure, incoherence or incompetence
as antithetical to social life, this innovative new book examines
the unexpected and surprising ways in which failure can lead to
positive and creative results. Combining both theoretical and
ethnographic approaches to failure, The Material Culture of Failure
explores how failure manifests itself and operates in a variety of
contexts. The editors present ten ethnographic encounters of
failure - from areas as diverse as design, textiles, religion,
beauty, and physical failure - covering Europe, North America,
Asia, Africa, and the Arabian Gulf. Identifying common themes such
as interpersonal, national and religious articulations of power and
identity, the book shows some of the underlying assumptions that
are revealed when materials fail, designs crumble, or things
develop unexpectedly.The first anthropological study dedicated to
theorizing failure, this innovative collection offers fresh
insights based on the latest scholarship. Destined to stimulate a
new area of research, the book makes a vital contribution to
material culture studies and related social science theory.
This volume comprises a curated conversation between members of the
Material Culture Section of University College London Anthropology.
In laying out the state of play in the field, it challenges how the
anthropology of material culture is being done and argues for new
directions of enquiry and new methods of investigation. The
contributors consider the ramifications of specific research
methods and explore new methodological frameworks to address areas
of human experience that require a new analytical approach. The
case studies draw from a range of contexts, including digital
objects, infrastructure, data, extraterrestriality, ethnographic
curation, and medical materiality. They include timely reappraisals
of now-classical analytical models that have shaped the way we
understand the object, the discipline, knowledge formation, and the
artefact.
This book draws on the work of anthropologist Alfred Gell to
reinstate the importance of the object in art and society. Rather
than presenting art as a passive recipient of the artist's
intention and the audience's critique, the authors consider it in
the social environment of its production and reception. A Return to
the Object introduces the historical and theoretical framework out
of which an anthropology of art has emerged, and examines the
conditions under which it has renewed interest. It also explores
what art 'does' as a social and cultural phenomenon, and how it can
impact alternative ways of organising and managing knowledge.
Making use of ethnography, museological practice, the intellectual
history of the arts and sciences, material culture studies and
intangible heritage, the authors present a case for the
re-orientation of current conversations surrounding the
anthropology of art and social theory. This text will be of key
interest to students and scholars in the social and historical
sciences, arts and humanities, and cognitive sciences.
Although much has been written on the making of art objects as a
means of engaging in creative productions of the self (most
famously Alfred Gell's work), there has been very little written on
Orthodox Christianity and its use of material within religious
self-formation. Eastern Orthodox Christianity is renowned for its
artistry and the aesthetics of its worship being an integral part
of devout practice. Yet this is an area with little ethnographic
exploration available and even scarcer ethnographic attention given
to the material culture of Eastern Christianity outside the
traditional 'homelands' of the greater Levant and Eastern Europe.
Drawing from and building upon Gell's work, Carroll explores the
uses and purposes of material culture in Eastern Orthodox Christian
worship. Drawing on three years of ethnographic fieldwork in a
small Antiochian Orthodox parish in London, Carroll focusses on a
study of ecclesiastical fabric but places this within the wider
context of Orthodox material ecology in Britain. This ethnographic
exploration leads to discussion of the role of materials in the
construction of religious identity, material understandings of
religion, and pathways of pilgrimatic engagement and religious
movement across Europe. In a religious tradition characterised by
repetition and continuity, but also as sensuously tactile, this
book argues that material objects are necessary for the continual
production of Orthodox Christians as art-like subjects. It is an
important contribution to the corpus of literature on the
anthropology of material culture and art and the anthropology of
religion.
America's famous teenage stalkers of stupidity are back! From the
authors of You May Not Tie an Alligator to a Fire Hydrant, here is
a collection of 101 of the dumbest product warnings you'll ever
see. The infamous 1994 McDonald's hot coffee lawsuit has spawned a
veritable industry of "hot" warnings, from Kellogg's Pop-Tarts
admonition that "[i]f pastry is overheated, frosting/filling can
become extremely hot and could cause burns" to the Black Cat
Fireworks label: "Caution: flammable. Do not put in mouth." If, on
the other hand, you manage to escape the heat with a trip to the
beach, be warned that a twenty-inch beach ball is "NOT a lifesaving
device." Kids (and maybe even parents) might be forgiven, however,
for thinking that Mr. Bubbles Body Wash for Kids of All Ages would
be okay to use if they missed the warning label: "Caution. Keep out
of reach of young children." In the brave new world of technology,
users frustrated by the gobbledygook of users' manuals will be
relieved that their warning labels at least make sense: the Sun
StarOffice End User License Agreement warns users that "software is
not designed, licensed or intended for use in the design,
construction, operation or maintenance of any nuclear facility,"
while the SGI IRIS Indigo Workstation manual tells you, "Don't
dangle the mouse by its cable or throw the mouse at coworkers." And
for those who just can't quite figure out what to do with some of
their new purchases, this might help: "Use Gold Dial as you would
ordinary soap" explains the Dial soap label. Compiled by Jeff Koon
and Andy Powell, this hilarious collection features the best
contributions from the hundreds of thousands of fans of their Web
sites, www.dumblaws.com and www.dumbwarnings.com, and forty-two
original drawings by illustrator Tim Carroll.
|
You may like...
Wonderfully Made
Tshwanelo Serumola
Paperback
(1)
R160
R125
Discovery Miles 1 250
My Momma Zo
Kelly Allen, Zoey Allen
Paperback
R179
Discovery Miles 1 790
Woolf
Alex Latimer, Patrick Latimer
Paperback
(3)
R212
R160
Discovery Miles 1 600
|