"Money is good, but a friend is better". Uncertainty, orientation to the future and "the economy"

à paraître dans Current Anthropology,Based on a long-term ethnography in State-run settlement projects on former sugarcane plantations in Northeast Brazil, the paper questions the evidence of "the economy" as a privileged framework for understanding the life situation of the poor, structured by precariousness and uncertainty about the future. Exploring the polysemy of Portuguese esperar (to wait, to hope and to expect), it analyzes the plurality of orientations to the future among former sugarcane wage workers included as beneficiaries in land reform projects, and their strategies to mitigate uncertainty in various configurations. If radical uncertainty lies out of human hands, relative uncertainty may be acted upon by mobilizing people. While money is desirable, but has a transitory character, the value of friends lies in their potential to 'help', especially in case of a 'crisis'. Ethnography thus suggests to move beyond an 'economic anthropology' aiming to analyze "other economies", and set out to explore the fields of opportunities and frames of reference that structure life situations, and the local versions of oikonomia, in its original meaning of "government of the household"

Hegemonic Gravity and Utopian pluralism: A comparative framework for analyzing the international space in anthropology

The content of RAM - WAN are under a creative commons license which makes it possible to re-use this content for non-commercial purposes if it is credited. http://www.ram-wan.net/html/journalThe paper outlines a framework for studying national traditions and international circulation, with reference to anthropologyl'article propose un cadre comparatif d'analyse de la constitution d'un espace international en anthropologie

Musei post-etnografici: Le trasformazioni dei rapporti tra antropologia e museo in Francia

The article analyses the contemporary transformations of the relationships between anthropology and museums in France in the wake of the opening in recent years of the Musée du quai Branly, the Musée des Civilisations de l'Europe et de la Méditerranée (MUCEM), and the reopening in 2015 of the Musée de l’Homme. The relationship between museums and anthropology, historically tighter in France than in other national contexts, explains the intensity of reactions triggered by these transformations. Retracing the historical transformations of ethnographic museums, and especially the ideal of the ‘museum-laboratory’, shows the enduring role of the naturalist, encyclopedic paradigm. The exhaustion of the natural history paradigm, in the Muséum National d'Histoire Naturelle in Paris as in ethnographic museums, has produced a change in the role of museums, with a shift from a museological discourse under the spell of science and rationalism to a more aesthetic and emotional approach. However, the new Musée de l'Homme embodies a revival of the naturalist and evolutionist paradigm. These new museums, which can be defined as 'post-ethnographic', have avoided a critical reflexive confrontation with history and colonial legacies. Meanwhile French anthropology is now facing the challenge of reinventing itself as a ‘post-museum anthropology’.L’articolo riflette sulle trasformazioni contemporanee dei rapporti tra antropologia e museo in Francia alla luce dell’apertura negli ultimi anni del Musée du quai Branly, del Musée des Civilisations de l'Europe et de la Méditerranée (MUCEM), e del rinnovamento del Musée de l'Homme. La relazione tra musei e antropologia, storicamente più stretta in Francia che in altri contesti nazionali, spiega l’intensità delle reazioni suscitate da queste trasformazioni. La ricostruzione della successione dei progetti di musei etnografici, e in particolare l’ideale del ‘museo-laboratorio’, dimostra il ruolo duraturo del paradigma enciclopedico-naturalista. L’esaurimento del paradigma naturalista, tanto negli stessi musei di storia naturale come il Muséum National d'Histoire Naturelle di Parigi quanto nei musei etnografici, ha prodotto una trasformazione del ruolo dei musei, sancito dal passaggio da un discorso museografico centrato sulla scienza e il razionalismo ad un approccio estetizzante fondato sulle emozioni. Allo stesso tempo, il paradigma naturalista ed evoluzionista rinasce nel nuovo Musée de l'Homme, inaugurato nel 2015. Questi nuovi musei, che possono essere definiti come ‘post-etnografici’, non sono ancora riusciti a fare i conti con la storia e con il loro passato coloniale. Nel contempo, l’antropologia francese si trova di fronte alla sfida di reinventarsi come ‘antropologia post-museo’

« Une petite armée de travailleurs auxiliaires »

La présence de l’ethnologie dans cet ouvrage n’a, a priori, rien d’évident. En effet, cette discipline se présente souvent aujourd’hui comme très individualiste. Nombre d’ethnologues cultivent l’image romantique du chercheur isolé sur un terrain lointain, en tête-à-tête avec lui-même et avec ses informateurs indigènes. Ce qui semble caractériser ce mode de connaissance, par opposition aux autres sciences sociales, c’est précisément son très faible degré de division du travail : l’ethnologue a..

De las catacumbas a los últimos confines: violencia, sentido y representación en los periplos del martirio

En este trabajo propongo un análisis transversal de las figuras del mártir y del martirio. Recurriendo a la noción de mediación, en la primera parte analizo el rol protagónico de las representaciones del martirio en las prácticas de la memoria durante la segunda mitad del siglo XVI. Analizo algunas de las condiciones que contribuyeron a la emergencia de una "cultura del martirio" y el rol de las mediaciones en tal surgimiento. En la segunda parte, estudio la forma en que el (re)descubrimiento de las catacumbas romanas, abrió un campo de producción de sentido en torno a la figura del martirio. En la tercera parte, centrándome en la Compañía de Jesús, analizo algunas mediaciones a través de las cuáles las figuras del martirio transgredieron las fronteras de iglesias y conventos para proyectarse a los últimos confines en un mundo en plena expansión.Neste artigo proponho uma análise transversal das figuras do mártir e do martírio. Usando a noção de mediação, na primeira parte eu tento analisar o papel de liderança de representações de martírio em práticas de memória durante a segunda metade do século XVI. Eu analiso algumas das condições que contribuíram para o surgimento de uma "cultura do martírio" e o papel da mediação nesta emergência. Na segunda parte, eu estudo como a (re) descoberta das catacumbas romanas abriu um campo de produção de significados em torno da figura do martírio. Na terceira parte, com foco na Companhia de Jesus, analiso algumas mediações pelas quais as representações do martírio transgrediram as fronteiras de igrejas e conventos para se projetar nas fronteiras de um mundo em plena expansão mundial.This paper proposes a cross-sectional analysis of martyr and martyrdom. Through the notion of mediation, in the first part I analyze the leading role of representations of martyrdom in memory practices during the second half of the sixteenth century. I analyze some of the conditions that contributed to the emergence of a "martyrdom's culture" and the role of mediation in such emergence. The second part studies how the (re)discovery of the Roman catacombs encouraged the production of meanings around the figure of martyrdom. In the third part, focusing on the Society of Jesus, I analyze a few instances of mediation through which the figures of martyrdom transgressed the boundaries of churches and convents to project themselves to the last frontiers of a world in full expansion.Fil: Salamanca Villamizar, Carlos Arturo. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentin

Le Musée de l'histoire de l'immigration à Paris: une collection et un musée en devenir

Globalization and the emergence of political issues in the European Union have propelled the topic of immigration into the center of the current political climate. In this contemporary context, museums that are focused on immigration are gaining more importance due to the impetus for preserving and providing visibility for the heritage of immigrants. In Paris during October 2007 the Cité nationale de l'Histoire de l'Immigration (CNHI) opened its doors but in 2013 it changed its name to Musée de l'histoire de l'immigration (MHI). The museum presents a historical and cultural approach to immigration as well as displaying contemporary works of art that deal with the theme of immigration. In this paper we will analyze how this museum is an attempt to integrate the History of immigration as a national heritage.Com a globalização e o surgimento da Comunidade Europeia, a questão das migrações se apresenta no centro das preocupações políticas mundiais contemporâneas. E nesse contexto histórico de países de imigração ou de emigração organizam-se os museus de estudos das migrações que pertencem à categoria dos museus de história e de sociedade. Em outubro de 2007, é criada, em Paris, a Cité nationale de l'Histoire de l'Immigration (CNHI) que desde 2013 passou a se chamar Musée de l'histoire de l'immigration (MHI): um museu que apresenta ao público uma abordagem histórica e cultural da imigração assim como obras de arte contemporânea que tratam do tema. Neste artigo, bucaremos compreender como este museu constitui uma tentativa de reconhecimento do patrimônio da imigração como um patrimônio nacional.Avec la mondialisation et l'émergence de nouvelles politiques d'immigration dans la Communauté Européenne, la question des migrations est centrale dans le monde politique d'aujourd'hui. C'est dans ce contexte historique de pays d'immigration ou d'émigration que se met en place et s'organise l'étude des musées d'immigration qui appartiennent à la catégorie des musées d'histoire et de société. En France, la Cité nationale de l'Histoire de l'Immigration, qui a ouvert ses portes en octobre 2007, depuis 2013 Musée de l'histoire de l'immigration (MHI), se distingue, dans ce contexte mondial, par l'originalité de son projet et les discussions qu'il suscite dans divers domaines (aussi bien dans le milieu académique que dans les réseaux d'associations qui s'occupent des immigrés en France). Le musée présente au public une approche historique et culturelle de l'immigration ainsi que des œuvres d'art contemporain sur ce sujet. Dans cet article, on s'interrogera sur comment ce musée constitue une tentative de reconnaître le patrimoine de l'immigration comme un patrimoine national

A coleção fotográfica de Marcel Gautherot

Considering contemporary Anthropologys debate around photography, there is a\ud keen interest in the understanding of one of the most important open to public consultation\ud photographic collections on 20th Century Brazil, that of Frenchman Marcel Gautherot (1910-\ud 1996). The collection comprises around 25,000 photographs, purchased in 1999 by Instituto\ud Moreira Salles and kept in its fund in the city of Rio de Janeiro. The text comments on the\ud photographers work, linked to documentary projects under the patronage of institutions such as\ud the Musée de l´Homme in Paris, at the end of the 1930s, and both the National Historic and\ud Artistic Patrimony Service and the Brazilian Folklore Defence Campaign, in Brazil, between the\ud years of 1940 -1960. Such commitments and interests define important thematic groupings in\ud the production and organisation of his personal photographic archive. A discussion about criteria and technical procedures adopted by the photographer is attempted, detailing series\ud and visual narratives about Brazilian cultures density. With the photographs purchase by the\ud IMS, the oeuvres aesthetic quality, now as an institutional collection, is highlighted. The collections\ud manners of preservation and conservation, reproduction and circulation are redefined