Abstracts

Abstracts A-

Alegría rebelde and performance (c)art: A comparative (auto)ethnography of contemporary absurd performance practice amongst activists and socially committed artists in Buenos Aires and New York City

This is an interdisciplinary study of contemporary absurd performance practice amongst activists and socially committed artists in Buenos Aires and New York City primarily informed by sixteen months of comparative ethnographic fieldwork. It centrally seeks to identify the motivations that drive different absurd performance practices amongst activists and socially committed artists across different socio-political contexts. Following a brief, signposting introduction and outline of the key collectives worked with during fieldwork, this thesis begins with a consideration of how to define ‘the absurd’ and ‘absurd performance’. The new theoretical framework of pragmatic absurdo-anarchism is proposed via combined contemplation of absurdist metaphysical philosophy and anarchist political philosophy in continual conversation with both my personal autoethnographic performance experimentation and reflection upon my ethnographic observations of others in Buenos Aires and New York City. From here, a new definition of absurd performance is outlined centering upon exaggerated counter-normative transgression. Elaborating upon the insights of growing literature concerning direct ‘tactical performance’ (Bogad, 2016a; Shepard, 2011; Duncombe, 2016) in relation to my ethnographic data, the counterpoint of more oblique supra-tactical performance is conceptualized, as is a spectrum of (supra)tactical absurd performance possibilities between these two ideal types. An account of my comparative ethnographic methodology and how it contributes fresh insight to the study of this topic and to Performance Studies more broadly is followed by a distillation of the key cultural and political characteristics of Buenos Aires and New York City that were observed to be influential upon absurd performance practices. Reporting and analysis of ethnographic data is then split into two primary sections. The first substantiates earlier theoretical claims by exploring the ideological underpinnings of different (supra)tactical orientations of absurd performance between those defining as activists and those defining as artists in each fieldsite. The second illustrates how the particular socio-political histories and actualities of Buenos Aires and New York City differently restrict and enable different forms of absurd performance. Here the need is outlined for further cross-cultural research on this topic in order to continue to fill the gaps in knowledge left behind by the ethnocentric over-concentration on Western activist case studies within the currently dominant academic literature

Indigenous Arctic Fish Skin Heritage: Sustainability, Craft and Material Innovation

The use of fish skin for the construction of garments and accessories is an ancient tradition shared by coastal Arctic societies as a subsistence lifestyle depending on aquatic resources for food and clothing. Arctic Indigenous Peoples need formidable resourcefulness to thrive in inhospitable ecosystems; fish skins provide them physical and spiritual protection. During the last century, they resisted not only colonisation and repression by humans but also dramatic ecological changes in seafood security. Fish skin craft became a way to communicate traditional knowledge where practical benefits combined cultural resilience. As market goods have replaced traditional fish skin clothing, the need for the skills required to create these items have diminished. The decrease of local natural resources also threatens the craft. The focus of this research is primarily to propose a vision of sustainability as an anthropological study of the resourcefulness and resilience of the Arctic Indigenous Peoples, their lifestyles, and fish skin practices. Secondarily it identifies the historical, cultural, environmental, and socioeconomic importance of fish skin as an innovative sustainable material, explored through the study of materials, processes and artefact analysis. Thirdly, the application of fish skin materials and craft practices has been tested through participatory workshops to explore how this material and the skill transmissions can contribute to sustainability practices in fashion. The contribution to knowledge is firstly the mapping of fish skin craft participatory practices with Artic Indigenous communities as this is the first time that such a survey has been undertaken. The material study of fish skin and its contribution to fashion sustainability forms a secondary contribution

Indigenous Arctic Fish Skin Heritage: Sustainability, Craft and Material Innovation

The use of fish skin(1) for the construction of garments and accessories is an ancient tradition shared by coastal Arctic societies as a subsistence lifestyle(2) depending on aquatic resources for food and clothing. Arctic Indigenous(3) Peoples(4) need formidable resourcefulness to thrive in inhospitable ecosystems; fish skins provide them physical and spiritual protection(5). During the last century, they resisted not only colonisation and repression by humans but also dramatic ecological changes in seafood security. Fish skin craft became a way to communicate traditional knowledge where practical benefits combined cultural resilience(6). As market goods have replaced traditional fish skin clothing, the need for the skills required to create these items have diminished. The decrease of local natural resources also threatens the craft. The focus of this research is primarily to propose a vision of sustainability as an anthropological study of the resourcefulness and resilience of the Arctic Indigenous Peoples, their lifestyles, and fish skin practices. Secondarily it identifies the historical, cultural, environmental, and socioeconomic importance of fish skin as an innovative sustainable material, explored through the study of materials, processes and artefact analysis. Thirdly, the application of fish skin materials and craft practices has been tested through participatory workshops to explore how this material and the skill transmissions can contribute to sustainability practices in fashion. The contribution to knowledge is firstly the mapping of fish skin craft participatory practices with Artic Indigenous communities as this is the first time that such a survey has been undertaken. The material study of fish skin and its contribution to fashion sustainability forms a secondary contribution. 1 Within this thesis, the terms fish skin and fish leather are used to indicate different processes of the same material. Fish skin. Skin indicates the superficial dermis of an animal. In the thesis fish skin is referred as the historical raw material tanned following traditional methods: mechanical, oiling, smoking, bark, brain, urine, fish eggs and corn flour tanning. Fish Leather is used to indicate that the fish skin has passed one or more stages of industrial vegetable or chrome tanning production and is ready to be used to produce leather goods. 2 Subsistence activities of hunting, herding, fishing and gathering continue to be of major significance to the Indigenous Peoples of the Arctic in providing food, social relationships and cultural identity. 3 Indigenous Peoples are descent from the populations which inhabited a geographical region at the time of colonisation and who retain some or all of their own social, economic, cultural and political institutions. In this thesis, I use the terms ‘Indigenous’ and ‘Native’ interchangeably. In some countries, one of these terms may be favoured over the other. 4 The specific Arctic Indigenous groups with historical evidence of fish leather production are the Inuit, Yup’ik and Athabascan of Alaska and Canada; the various Siberian peoples, such as the Nivkh and Nanai; the Ainu from the Hokkaido Island in Japan and Sakhalin Island, Russia; the Hezhe from northeast China and the Saami of northern Scandinavia. 5 Arctic Indigenous Peoples believed that humans, animals and nature shared spiritual qualities. Arctic seamstresses decorated hunters’ fish skin clothing with motifs imbued with spirits, which gave protection from danger. 6 Arctic Indigenous Peoples have become a symbol of cultural resilience, actively adapting to colonisation, place dislocation due to land dispossession and resettlement, challenging the persistence of Indigenous knowledge systems

Fourth Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian Institution 1882-\u2783.

Annual Report of the Bureau of Ethnology. [2327] Research related to the American Indian; fourth annual report

Fourth Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian Institution 1882-'83.

48-2Annual Report of the Bureau of Ethno logy. [2327] Research related to the American Indian; fourth annual report.1885-

Babel' in Context

Isaak Babel (1894–1940) is arguably one of the greatest modern short story writers of the early twentieth century. Yet his life and work are shrouded in the mystery of who Babel was—an Odessa Jew who wrote in Russian, who came from one of the most vibrant centers of east European Jewish culture and all his life loved Yiddish and the stories of Sholom Aleichem.This is the first book in English to study the intertextuality of Babel’s work. It looks at Babel’s cultural identity as a case study in the contradictions and tensions of literary influence, personal loyalties, and ideological constraint. The complex and often ambivalent relations between the two cultures inevitably raise controversial issues that touch on the reception of Babel and other Jewish intellectuals in Russian literature, as well as the “Jewishness” of their work