Why do the Paiutes love Coyote? Why do Youngstown mill workers vote for Mafia candidates for municipal office? Tricksters become key to understanding how oppressed groups function in a hostile world."--pub. desc.
This book tells the incredible true story of Ranulfo Juárez, a Mexican immigrant. After working for years in the fields of Oregon and becoming a U.S. citizen, Ranulfo started making plans to buy a small bakery in 2005. But not knowing if the economy would hold steady, Ranulfo examined his dreams every morning in search of secret clues foretelling insight and a successful bakery—or homelessness. Ranulfo also enlisted author Peter Wogan, a white anthropology professor with a penchant for self-doubt, as his confidante and sidekick in this quest. Readers won’t know until the end whether Ranulfo became another innocent victim of the Financial Crisis of 2008, but, throughout, they will see Ranulfo and Peter confront naysayers and cheats, as well as their own differences and fears. Like Don Quixote, this book is comical, subversive, and inspirational.
In tourism, strangers meet face to face. What do Tanzanian Maasai and Western tourists think when they meet? Using a combination of methods that has never been tried in anthropology, or in the field of tourism studies, this work provides novel theoretical insights into the images hosts and guests have of each other, and how their views relate to the interactions they experience. This compelling reflexive study uses video and Q method to contribute to the epistemology of anthropological research in tourism settings, and the construction of a new, more symmetrical anthropology. Dissertation. ***An important contribution to the growing field of the anthropology of tourism, an example of intense and methodical fieldwork, combined with theoretical acumen and deep reflexivity.--Prof. Dr Walter E. A. van Beek (Tilburg U.) (Series: Contributions to African Research / Beitr�ge zur Afrikaforschung, Vol. 76) [Subject: African Studies, Tourism Studies, Anthropology, Sociology]
The Trickster Revisited: Deception as a Motif in the Pentateuch explores the use of deception in the Pentateuch and uncovers a new understanding of the trickster’s function in the Hebrew Bible. While traditional readings often «whitewash» the biblical characters, exonerating them of any wrongdoing, modern scholars often explain these tales as significant at some earlier point in Israelite tradition. But this study asks the question: what role does the trickster have in the later pentateuchal setting? Considering the work of Victor Turner and the mythic function of the trickster, The Trickster Revisited explores the connections between tricksters, the rite de passage pattern, marginalization, and liminality. Marginalized individuals and communities often find trickster tales significant, therefore trickster stories often follow a similar literary pattern. After tracing this pattern throughout the Pentateuch, specifically the patriarchal narratives and Moses’ interaction with Pharaoh in the Exodus, the book discusses the meaning these stories had for the canonizers of the Pentateuch. The author argues that in the Exile and post-exilic period, as the canon was forming, the trickster was the perfect manifestation of Israel’s self-perception. The cognitive dissonance of prophetic words of hope and grandeur, in light of a meager socio-economic and political reality, caused the nation to identify itself as the trickster. In this way, Israel could explain its lowly state as a temporary (but still significant) «betwixt and between», on the threshold of a rise in status, i.e. the great imminent kingdom predicted by the prophets.
يعد مسار هذه الرواية بالتحديد أكثر تعقيدًا من غيرها، فقد طرحت شِلي فيها أفكارًا جريئة جديدة بالنسبة لعصرها عن الإبداع عندما يتخطى حدود الطبيعة، وقد تعاظَم هذا المسار واستقلَّ بشكلٍ ما عن الرواية نفسها، وصار في حَدّ ذاته نوعًا من المجاز والأسطورة شَقّ لنفسه طريقًا في الفنون الأخرى مثل السينما والمسرح والكاريكاتور والكومِكس، وصار اسم فرانكنشتاين مُرادِفًا لكل إبداع عندما يصير هوسًا يَجلِب عواقب وخيمة على المُبدِع والعالم، ومرادفًا للوحشيَّة وقد تحرَّرَت من عِقالها.