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1 – 10 of 251Sebastian J. Lowe, Lily George and Jennifer Deger
This chapter looks at what it means to set out to do anthropological research with tangata whenua (New Zealanders of Māori descent; literally, ‘people of the land’), from the…
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This chapter looks at what it means to set out to do anthropological research with tangata whenua (New Zealanders of Māori descent; literally, ‘people of the land’), from the particular perspective of a Pākehā (New Zealander of non-Māori descent – usually European) musical anthropologist with an interest in sound-made worlds. In late 2017, Lowe was awarded funding for a conjoint PhD scholarship in anthropology at James Cook University, Australia, and Aarhus University, Denmark. However, following advice from several colleagues in Aotearoa New Zealand, Lowe decided to assess the viability of the project with his prospective Māori and non-Māori collaborators prior to officially starting his PhD candidature. Throughout this process of pre-ethics (Barrett, 2016), Lowe met with both Māori and non-Māori to discuss the proposed PhD project; a ‘listening in’ to his own socio-historical positioning as a Pākehā anthropologist within contemporary Aotearoa New Zealand. This approach to anthropological research is in response to George (2017), who argues for a new politically and ethnically aware mode of anthropology that aims to (re)establish relationships of true meaning between anthropology and Māori in Aotearoa New Zealand.
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If what sociologists call “social structures” are understood to be recurrent patterns of joint action, then the charge that interactionism suffers from an astructural bias falls…
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If what sociologists call “social structures” are understood to be recurrent patterns of joint action, then the charge that interactionism suffers from an astructural bias falls apart, because such patterns of joint action are what interactionists routinely study. The problem, then, is not that interactionism fails to grasp structure, but that much of the mainstream of sociology fails to grasp process. It is this aprocessual bias that impedes a full understanding of how inequality is created and reproduced. The case of capitalism is used to show how an interactionist focus on process can illuminate the workings of a large-scale economic system. I treat capitalism as a macro interaction order, à la Goffman, and then employ the tools of dramaturgical sociology to analyze the recurrent patterns of joint action of which capitalism consists. This form of dramaturgical analysis is applied to two fictional stories as a way to show how capitalism depends on normative and procedural rules, cognitive presuppositions, and ritual forms – all of which are typically rendered invisible by aprocessual bias. The concepts of side bets, identity stakes, and nets of accountability are developed to complete the analysis.
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Vivianna Fang He and Gregor Krähenmann
The pursuit of entrepreneurial opportunities is not always successful. On the one hand, entrepreneurial failure offers an invaluable opportunity for entrepreneurs to learn about…
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The pursuit of entrepreneurial opportunities is not always successful. On the one hand, entrepreneurial failure offers an invaluable opportunity for entrepreneurs to learn about their ventures and themselves. On the other hand, entrepreneurial failure is associated with substantial financial, psychological, and social costs. When entrepreneurs fail to learn from failure, the potential value of this experience is not fully utilized and these costs will have been incurred in vain. In this chapter, the authors investigate how the stigma of failure exacerbates the various costs of failure, thereby making learning from failure much more difficult. The authors combine an analysis of interviews of 20 entrepreneurs (who had, at the time of interview, experienced failure) with an examination of archival data reflecting the legal and cultural environment around their ventures. The authors find that stigma worsens the entrepreneurs’ experience of failure, hinders their transformation of failure experience, and eventually prevents them from utilizing the lessons learnt from failure in their future entrepreneurial activities. The authors discuss the implications of the findings for the entrepreneurship research and economic policies.
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This chapter explores the queasy relationship between food and sex on The Archers. For listeners, food provides an imaginative reference point; consumption of food hints towards…
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This chapter explores the queasy relationship between food and sex on The Archers. For listeners, food provides an imaginative reference point; consumption of food hints towards characters embodiment and occupation of physical space. To the extent that these characters have boundaries, the way they approach and react to food reveals their rigidity or permeability, and the tones in which characters offer, provide, prepare, coax and force food upon one another tells us a lot about the sexual politics at play in Ambridge. In The Archers, women cook and men eat. Characters who rebel against this norm often subvert traditional masculinity in other ways.
Through close reading (and obsessive listening), this chapter analyses the ways in which food allows the relationships on The Archers to act as foils to one another. It also explores: food as metaphor; food used both to sustain and fortify the boundaries of the self and to besiege the ego boundaries of others; how characters are given weight in acoustic space; female emancipation; male helplessness; the hunger/satiety/aural claustrophobia of listeners.
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The Jurassic Park film franchise offers a complex portrayal of gender issues within a long-running science fiction action series, although not one without problematic moments…
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The Jurassic Park film franchise offers a complex portrayal of gender issues within a long-running science fiction action series, although not one without problematic moments. This chapter examines selected examples from the series to explore this complex picture. These include moments in the series that display female characters such as Ellie Sattler, Sarah Harding and Claire Dearing with power and agency and the top of their respective professions, noting that Jurassic Park is unusual among science fiction films for its presentation of such accomplished female characters. The chapter also addresses the sexualisation of the character Ian Malcolm and the role of the more typical ‘action star’ from later films, Owen Grady. Finally, it considers the question of sex-selection for the non-human characters, namely the dinosaurs, as significant plot points advance upon the premise that the entire dinosaur population in the series consists of non-breeding females, a fact that is later shown to be untrue. The chapter addresses each of these examples through key issues relating to the production, presentation, and violation of the human and non-human living body across the full Jurassic Park series.
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