String Figure Bibliography (3Rd Edition, 2000)
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Notes and References
NOTES AND REFERENCES PREFACE 1 In the period of history covered by the present work, the words most commonly used to describe the type of society studied by anthropologists were "primitive" and "savage". Since however, neither of these words can be used without strongly pejorative overtones, I have done my best to avoid them, substituting instead more emotionally neutral words like "aboriginal", "indigenous" and "preliterate". None of these words is perfectly suited to the job at hand and the result may sometimes come out sounding rather oddly. Nonetheless, I would rather be guilty of minor offences of usage than of encouraging Eurocentric prejudice. 2 Peter Lawrence, "The Ethnographic Revolution", Oceanill45, 253-271 (1975). 3 A recent work which makes a start in this direction is Perspectives on the Emergence of Scientific Disciplines, Gerard Lemaine, Roy MacLeod, Michael Mulkay and Peter Weingart (eds.), (The Hague and Chicago, 1977). From our point of view the most inter esting contribution is Michael Worboy's study of British tropical medicine, a discipline which, largely because of its relationship to British imperialism, exhibited a maturation process which bore many similarities to that of British Social Anthropology. 4 Jairus Banaji, ''The Crisis of British Social Anthropology", New Left Review 64, 75 (Nov.-Dec. 1970). 5 E. E. Evans-Pritchard's famous 1940 ethnography on The Nuer, for example, often regarded as the ultimate achievement of British Social Anthropology, presents the Nuer as a self-contained, static and harmoniously-operating group. However, it is evident from a number of things which Evans-Pritchard mentions in passing that, in fact, the Nuer interact so substantially with the neighbouring Dinka people that, instead of reifying "the Nuer" as a self-contained social entity, it may well have been more sensible to write a book about the Nuer-Dinka complex. -
Lavin Poster (NHRE 2011)
Exploring the Relations and Collections of A.C. Haddon at the Smithsonian Institution Luke Lavin, Amherst College, Amherst, MA Joshua A. Bell, Department of Anthropology, Smithsonian Institution, Washington, DC What do the National Museum of Natural Histories’ collections from A.C. Haddon’s General Makeup of the Alfred C. Localities of Torres Strait Collections Analysis and Findings: The dugong charm, tobacco pipe, and first voyage (1888-9) to the Torres Strait tell us about Haddon and local Torres Strait related photos show how objects in the Smithsonian collection can be used to aid in communities’ trade relationships and agencies? 4% Haddon Collections at the Western Islands- Badu, Moa, retracing Haddon’s interaction with locals (e.g., Waria and Gabia) and Europeans 9% Mabuiag, Muralug, Giralag, Kiriri, (e.g., Milman and Beardmore) stationed in the area. The histories of these objects, Smithsonian Ngurapai, Waiben, Maurura: 19 Alfred Cort Haddon (1855-1940) went to the Torres Strait Islands in 1888 to examine marine items and their movements, give us a glimpse into the trade relationships between the Background: Northern Islands- Boigu, Buru, biology and reef systems. Transformed by the experience, Haddon returned in 1898 as head of the Cambridge 7% Dauan, Saibai, Daru, Bobo, Parama: seafaring Islanders, New Guineans, and Cape York Aboriginal communities in 4 items Anthropological Expedition, which revolutionized anthropological field methodologies and helped establish British 1% addition to the customs Haddon sought to “salvage” through his work. The objects Eastern Islands- Mer, Dauar, Waier, Social Anthropology (Herle & Rouse 1998). 42% Erub, Ugar: 13 items themselves speak to the transforming material realities of the region, and the ways in which islanders incorporated external materials in their shifting practices (Fig. -
The Ethnographic Experiment in Island Melanesia ♦L♦
Introduction The Ethnographic Experiment in Island Melanesia ♦l♦ Edvard Hviding and Cato Berg Anthropology in the Making: To the Solomon Islands, 1908 In 1908, three British scholars travelled, each in his own way, to the south-western Pacific in order to embark on pioneering anthropological fieldwork in the Solomon Islands. They were William Halse Rivers Rivers, Arthur Maurice Hocart and Gerald Camden Wheeler. Rivers (1864–1922), a physician, psychologist and self-taught anthropologist, was already a veteran fieldworker, having been a member of the Cambridge Torres Strait Expedition for seven months in 1898 (Herle and Rouse 1998), after which he had also carried out five months of fieldwork among the tribal Toda people of South India in 1901–2 (see Rivers 1906). The Torres Strait Expedition was a large-scale, multi-disciplinary effort with major funding, and had helped change a largely embryonic, descrip- tive anthropology into a modern discipline – reflective of the non-anthro- pological training of expedition leader Alfred Cort Haddon and his team, among whom Rivers and C.G. Seligman were to develop anthropological careers. During the expedition, Rivers not only engaged in a wide range of observations based on his existing training in psychology and physiology, but also increasingly collected materials on the social organisation of the Torres Strait peoples, work that ultimately resulted in him devising the ‘genealogical method’ for use by the growing discipline of anthropology, with which he increasingly identified. 2 Edvard Hviding and Cato Berg ♦ The 1908 fieldwork in Island Melanesia which is the focus of this book was on a much smaller scale than the Torres Strait Expedition, but it had 1 a more sharply defined anthropological agenda. -
Yona of the Dawn, Vol. 4 Online
kdgsL (Read free ebook) Yona of the Dawn, Vol. 4 Online [kdgsL.ebook] Yona of the Dawn, Vol. 4 Pdf Free Mizuho Kusanagi ePub | *DOC | audiobook | ebooks | Download PDF Download Now Free Download Here Download eBook #141846 in Books Kusanagi Mizuho 2017-02-07 2017-02-07Original language:English 7.50 x .60 x 5.00l, .0 #File Name: 1421587858192 pagesYona of the Dawn Vol 4 | File size: 50.Mb Mizuho Kusanagi : Yona of the Dawn, Vol. 4 before purchasing it in order to gage whether or not it would be worth my time, and all praised Yona of the Dawn, Vol. 4: 3 of 3 people found the following review helpful. A+ AgainBy CustomerIn volume four, we are introduced to the 2nd dragon, the Seiryuu (or Blue Dragon). Seiryuu is easily on of my favorite characters in the entire series, along with his adorable side-kick Ao, and has one of the most memorable back stories in my opinion. I also found this volume to be particularly funny. There are some really great comedic moments here, even if some are subtle. Having already read this volume after it was released in Japan (several times, I'll admit), I was still laughing at jokes I've read a few times before.A side note - the artwork for Seiryuu is STUNNING I must say. I'm a big fan of Kusanagi's work to start, but the attention to detail with Seiryuu's entire look is pretty amazing, I must say.1 of 1 people found the following review helpful. I love this seriesBy Ada VI love this series. -
Thomas Storer's Heart-Sequence: a Formal Approach to String Figure
Thomas Storer’s Heart-Sequence: A Formal Approach to String Figure-Making Eric VANDENDRIESSCHE Paris Diderot University, Sorbonne Paris Cité Science-Philosophy-History, UMR 7219, CNRS, F-75205 Paris, France e-mail: [email protected] Abstract String figure-making is a procedural activity carried out in many societies of oral tra- dition. It consists in producing geometrical forms using a string knotted into a loop. In 1988, an American mathematician, Thomas Storer (1938-2006), published a long article in which he developed several formal approaches of string figure-making. One of these is the Heart-sequence. Passing the string around a finger forms a "loop". The point is then to focus, during the process, on the movements of the loops without taking into account the way the fingers operate to make these loops, and to convert these movements into a mathematical formula. This mathematical approach to string figures allows a new reading of string figure procedures which makes it possible to classify them and is a promising way to carry out a comparative study of string figure corpora. This paper concentrates on string figure algorithms leading to "double-sided lozenge" final figures. Although various different methods in forming such a "double-sided lozenge" can be found in geographically and culturally distant societies, only two classes of heart-sequences will be identified. Key Words: String figures, algorithm, modeling, classification, ethnomathematics. Journal of Mathematics & Culture 119 February 2015 9(1) ISSN - 1558 - 5336 1 Introduction String figure-making consists in applying a succession of operations to a string (knotted into a loop), mostly using the fingers and sometimes the feet, the wrists or the mouth. -
Style and Meaning Anthropology’S Engagement with Art Has a Complex and Uneven History
NICHOLAS THOMAS THOMAS NICHOLAS & CLARK ALISON style and meaning Anthropology’s engagement with art has a complex and uneven history. While style and material culture, ‘decorative art’, and art styles were of major significance for ( founding figures such as Alfred Haddon and Franz Boas, art became marginal as the EDS meaning discipline turned towards social analysis in the 1920s. This book addresses a major ) moment of renewal in the anthropology of art in the 1960s and 1970s. British Essays on the anthropologist Anthony Forge (1929-1991), trained in Cambridge, undertook fieldwork among the Abelam of Papua New Guinea in the late 1950s and 1960s, anthropology of art and wrote influentially, especially about issues of style and meaning in art. His powerful, question-raising arguments addressed basic issues, asking why so much art was produced in some regions, and why was it so socially important? style ANTHONY FORGE meaning Fifty years later, art has renewed global significance, and anthropologists are again considering both its local expressions among Indigenous peoples and its new global circulation. In this context, Forge’s arguments have renewed relevance: they help and edited by scholars and students understand the genealogies of current debates, and remind us of fundamental questions that remain unanswered. ALISON CLARK & NICHOLAS THOMAS This volume brings together Forge’s most important writings on the anthropology anthropology of art Essays on the of art, published over a thirty year period, together with six assessments of his legacy, including extended reappraisals of Sepik ethnography, by distinguished anthropologists from Australia, Germany, Switzerland and the United Kingdom Anthony Forge was born in London in 1929. -
The Language of String Figure-Making in a Sepik Society in Papua New Guinea
Vol. 14 (2020), pp. 598–641 http://nflrc.hawaii.edu/ldc http://hdl.handle.net/10125/24964 Revised Version Received: 2 Aug 2020 Talking about strings: The language of string figure-making in a Sepik society in Papua New Guinea Darja Hoenigman The Australian National University The practice of making string figures, often called cat’s cradle, can be found all over the world and is particularly widespread in Melanesia. It has been studied by anthropologists, linguists and mathematicians. For the latter, the ordered series of moves and the resultant string figures represent cognitive processes that form part of a practice of recreational mathematics. Modern anthropology is interested in the social and cultural aspects of string figures, including their associations with other cultural practices, with the local mythology and songs. Despite this clear link to language, few linguists have studied string figures, and those who have, have mainly focused on the songs and formulaic texts that accompany them. Based on a systematic study of string figures among the Awiakay, the inhabitants of Kanjimei village in the Sepik region of Papua New Guinea, with six hours of transcribed video recordings of the practice, this paper argues that studying string figure-making can be an important aspect of language documentation – notjust through the recording and analysis of the accompanying oral literature, but also as a tool for documenting other speech genres through recordings of the naturalistic speech that surrounds string figure-making performances. In turn, analysing the language associated with string figure-making offers valuable insights into the meaning of string figures as understood by their makers. -
The String Figures of Yirrkalla: a Major Revision
Bulletin ofthe International String Figure Association, Vol.2, xx-xxx, 1995 The String Figures of Yirrkalla: A Major Revision collected by Frederick D. McCarthy, 1948 revised and illustrated by Honor C. Maude, Canberra, Australia, Mark A. Sherman, Pasadena, California Photo of Narau here ABSTRACT Frederick D. McCarthy's collection of string figures, gathered in 1948 among the Yirrkalla aborigines ofArnhem Land, Australia, has been hailed as the largest collection ever assembledfrom a single community. Unfortu nately, less than ten percent of the figures can be made from the instruc tions provided by McCarthy. We have therefore revised McCarthy's text to convey, in conventional terminology, what we believe to have been the method by which each figure was in fact made by his informant. -S^vwple of reduced ^uvcd cropi^^ed d\os>ivccBo\ry -per H.C. MAUDE AND M.A. SHERMAN INTRODUCTION The popularity of string figures among the native inhabitants of Australia was first reported in the 1840's (Cawthorne 1844; Eyre 1845). Since then, several impressive collections have been published, many of which include construction methods (Roth 1902; K. Haddon 1918; Stanley 1926; David son 1941; Mountford 1950; McCarthy 1960). In 1948, Frederick D. McCarthy's spent three months collecting string figures among the Yirrkalla aborigines of Amhem Land, a region located in the northeast comer of Australia's Northern Territory (fig. 1). His collection of 213 figures was published twelve years later in Volume 2 of Records of the American-Australian Scientific Expedition to Amhem Land (pp. 415- 511). Even before its publication, the significance of the collection was of ten cited (Mountford & Walker 1949; McCarthy 1957; McCarthy 1958). -
Telling Pacific Lives
TELLING PACIFIC LIVES PRISMS OF PROCESS TELLING PACIFIC LIVES PRISMS OF PROCESS Brij V. Lal & Vicki Luker Editors Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at: http://epress.anu.edu.au/tpl_citation.html National Library of Australia Cataloguing-in-Publication entry Title: Telling Pacific lives : prisms of process / editors, Vicki Luker ; Brij V. Lal. ISBN: 9781921313813 (pbk.) 9781921313820 (pdf) Notes: Includes index. Subjects: Islands of the Pacific--Biography. Islands of the Pacific--Anecdotes. Islands of the Pacific--Civilization. Islands of the Pacific--Social life and customs. Other Authors/Contributors: Luker, Vicki. Lal, Brij. Dewey Number: 990.0099 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design by Teresa Prowse Cover image: Choris, Louis, 1795-1828. Iles Radak [picture] [Paris : s.n., [1827] 1 print : lithograph, hand col.; 20.5 x 26 cm. nla.pic-an10412525 National Library of Australia Printed by University Printing Services, ANU This edition © 2008 ANU E Press Table of Contents Preface vii 1. Telling Pacic Lives: From Archetype to Icon, Niel Gunson 1 2. The Kila Wari Stories: Framing a Life and Preserving a Cosmology, Deborah Van Heekeren 15 3. From ‘My Story’ to ‘The Story of Myself’—Colonial Transformations of Personal Narratives among the Motu-Koita of Papua New Guinea, Michael Goddard 35 4. Mobility, Modernisation and Agency: The Life Story of John Kikang from Papua New Guinea, Wolfgang Kempf 51 5. -
Anime/Games/J-Pop/J-Rock/Vocaloid
Anime/Games/J-Pop/J-Rock/Vocaloid Deutsch Alice Im Wunderland Opening Anne mit den roten Haaren Opening Attack On Titans So Ist Es Immer Beyblade Opening Biene Maja Opening Catpain Harlock Opening Card Captor Sakura Ending Chibi Maruko-Chan Opening Cutie Honey Opening Detektiv Conan OP 7 - Die Zeit steht still Detektiv Conan OP 8 - Ich Kann Nichts Dagegen Tun Detektiv Conan Opening 1 - 100 Jahre Geh'n Vorbei Detektiv Conan Opening 2 - Laufe Durch Die Zeit Detektiv Conan Opening 3 - Mit Aller Kraft Detektiv Conan Opening 4 - Mein Geheimnis Detektiv Conan Opening 5 - Die Liebe Kann Nicht Warten Die Tollen Fussball-Stars (Tsubasa) Opening Digimon Adventure Opening - Leb' Deinen Traum Digimon Adventure Opening - Leb' Deinen Traum (Instrumental) Digimon Adventure Wir Werden Siegen (Instrumental) Digimon Adventure 02 Opening - Ich Werde Da Sein Digimon Adventure 02 Opening - Ich Werde Da Sein (Insttrumental) Digimon Frontier Die Hyper Spirit Digitation (Instrumental) Digimon Frontier Opening - Wenn das Feuer In Dir Brennt Digimon Frontier Opening - Wenn das Feuer In Dir Brennt (Instrumental) (Lange Version) Digimon Frontier Wenn Du Willst (Instrumental) Digimon Tamers Eine Vision (Instrumental) Digimon Tamers Ending - Neuer Morgen Digimon Tamers Neuer Morgen (Instrumental) Digimon Tamers Opening - Der Grösste Träumer Digimon Tamers Opening - Der Grösste Träumer (Instrumental) Digimon Tamers Regenbogen Digimon Tamers Regenbogen (Instrumental) Digimon Tamers Sei Frei (Instrumental) Digimon Tamers Spiel Dein Spiel (Instrumental) DoReMi Ending Doremi -
String Games in Australia’, Published in Seal, G
This is the author’s final version of ‘String Games in Australia’, published in Seal, G. & Gall, J. (eds), Antipodean Traditions: Australian Folklore in the 21st Century, Black Swan Press, Perth, 2011 String Games in Australia Judy McKinty This chapter discusses the occurrence of string games in Australia, and traces the history of string figures from first century Greece, through nineteenth century Aboriginal cultures and into twenty-first century Australian playgrounds. Along the way, attitudes and adaptations to the game, ethnographic and folklore research and the skills involved in making string figures are explored. Currently regarded as a children’s pastime, the game has a rich history showing connections between people, place and time, and has the potential to be of interest and value to researchers and practitioners working in several disciplines. Definitions String games are usually played by tying a length of string into a loop, taking the loop on the hands and using the fingers to weave intricate shapes and patterns in the string. Often the term ‘cat’s cradles’ is used as a generic name for the game, but broadly speaking, there are two different types of string games, which require their own terminology to avoid confusion. When two people play the ‘old-fashioned’ game of taking the string off each other’s hands to make a consecutive series of shapes – Cradle, Soldier’s Bed, Candles, Manger, Diamonds, Cat’s Eye, Fish in a Dish, Hand Drum and back to Diamonds – this game is usually known as Cat’s Cradle.1 There is also another form of string game, where one person weaves her fingers in and out of the strings on her own hands to make a shape or pattern. -
Universitas Indonesia Budaya Populer Manga Dan Anime
UNIVERSITAS INDONESIA BUDAYA POPULER MANGA DAN ANIME SEBAGAI SOFT POWER JEPANG SKRIPSI Diajukan sebagai salah satu syarat untuk memperoleh gelar Sarjana Humaniora YOLANA WULANSUCI NPM 0606088406 FAKULTAS ILMU PENGETAHUAN BUDAYA PROGRAM STUDI JEPANG DEPOK JULI 2010 i Budaya populer..., Yolana Wulansuci, FIB UI, 2010 SURAT PERNYATAAN BEBAS PLAGIARISME Sayayang bertanda tangan di bawahini dengansebenarnya menyatakan bahwa skripsi ini saya susun tanpa tindakan plagiarisme sesuai dengan peraturanyang berlaku di Universitaslndonesia. Jika di kemudian hari ternyata saya melakukan tindakan Plagiarisme, saya akan bertanggung jawab sepenuhnya dan menerima sanksi yang dijatuhkan oleh Universitas Indonesiakepada saya. Jakarta,12 Juli 2010 Budaya populer..., Yolana Wulansuci, FIB UI, 2010 UniversitasIndonesia HALAMAI\I PER}IYATAA}I ORISINALITAS Skripsi ini adalah hasil karya sayasendiri, dan semuasumber baik yangdikutip maupundirujuk telah sayanyatakan denganbenar. Nama : YolanaWulansuci NPM : 0606088406 Tanda Tangan : Tanggal : 12Juli 2010 Budaya populer..., Yolana Wulansuci, FIB UI, 2010 ltl UniversitasIndonesia HALAMANPENGESAHAN Skripsi yang diajukan oleh nama : Yolana Wulansuci NPM : 0606088406 Program Studi : Jepang judul : Budaya Populer Manga Dan Anime Sebagai Soft Power Jepang ini telah berhasil dipertahankan di hadapan Dewan Penguji dan diterima sebagai bagian persyaratan yang diperlukan untuk memperoleh gelar Sarjana Humaniora pada Program Studi Jepang, Fakultas IImu Pengetahuan Budaya, Universitas Indonesia DEWAN PENGUJI Pembimbing : Dr.