Results 41 to 50 of about 756 (114)
Tools for relatedness: “Fetishes” in Burkina Faso and the work of enacted metaphors
American Anthropologist, Volume 127, Issue 2, Page 233-243, June 2025.Abstract In West Africa, certain objects can act in the world and interact with people as subjects. Labeled “fetishes” by Europeans, these material things have generated centuries of debates on the nature of their agency. In this article, I rely on participant fieldwork as a student in a group of initiated donso hunters in Burkina Faso, which involved ...
Lorenzo Ferrarini
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La Métaphore de l’Alcool dans l’argot roumain
Acta Universitatis Lodziensis: Folia Litteraria Romanica, 2019 Notre article vise à traiter le champ lexical de l’alcool, extrêmement riche dans tout argot, donc dans l’argot roumain aussi. Sans prétendre à être exhaustif, chose pratiquement impossible dans les conditions d’une véritable pléthore de terminologies ...
Laurențiu Bălă
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La métaphore de la bête comme lecture sociocritique dans Germinal d’Émile Zola [PDF]
Ziglôbitha, 2022 Résumé : Classé parmi les prestigieux noms de la manifestation littéraire au XIXe siècle, E. Zola est sans doute l’une des grandes figures littéraires d’expression française des Temps Modernes. Ce dernier s’avère encore plus intéressant par l’objectif qu’
Joëlle Fabiola NSA NDO
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Espaces Linguistiques, 2021 Chef du service de gériatrie d’un hôpital parisien, le Pr. A. a pour habitude de produire un objet de référence commun pour décrire la maladie d’Alzheimer à ses patients en recourant à la description d’une maison dont l’escalier endommagé ne permet pas d’
Alexandra Ortiz Caria, Michel de Fornel
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FROM TRASH TO TREASURE: RILKE AND VENICE REVISITED
German Life and Letters, Volume 78, Issue 2, Page 127-193, April 2025.ABSTRACT Rilke loved Venice and visited or passed through a dozen times between 1897 and 1920. He wrote extensively about the city in prose and verse between 1898 and 1908, including a cycle of poems in the Neue Gedichte and a polemical ‘Aufzeichnung’ in Malte Laurids Brigge.
Robert Vilain
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‘We welcome migrants and the tourists come’: postmodern hospitality in Palermo, Sicily
Journal of the Royal Anthropological Institute, Volume 30, Issue 3, Page 537-554, September 2024.Abstract In Palermo, Sicily, actors use the metaphor of hospitality to profess cosmopolitan attitudes towards ‘migrants’. This raises a conceptual puzzle: hospitality and cosmopolitanism represent contradictory models of social ethics. But an ethnography of one social enterprise reveals that the hospitality in use is not traditional hospitality. Rather,
Margaret Neil
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Le dernier écho d’une symphonie
Flaubert: Revue Critique et Génétique, 2019 Music in Flaubert’s work is like the image of an unheard language going beyond social discourse and commonplaces. It is a non figural language inviting the audience to a dreaming listening.
Philippe Dufour
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‘Beware of dalals’: a moral world of health market brokerage in Bangladesh
Journal of the Royal Anthropological Institute, Volume 30, Issue 3, Page 589-607, September 2024.Abstract Anthropological enquiry into brokers and brokerage practice provides a prime entry point for making sense of social change. This article tends to the ways in which the trope of the broker and the everyday practice of those identified as enacting brokerage act as linchpins in broader moral grappling during a period of rapid social change.
Janet E. Perkins
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Ethos, Volume 52, Issue 2, Page 308-323, June 2024.Abstract To explain cultural diversity, many theories refer to the social construction of reality. In this telling, we frame the world to make it meaningful. In my analysis of what people in Namibia and Germany know about “SARS‐Cov‐2” and “climate change,” I propose an anti‐constructivist alternative. Drawing on the work of the phenomenologist Bernhard
Michael Schnegg
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The German Quarterly, Volume 97, Issue 3, Page 319-336, Summer 2024.Abstract Goethe's Faust I stages an aesthetic experiment akin to the theoretical program of Schiller's Über die ästhetische Erziehung des Menschen: an education of the senses through art, an aesthetic education, in both meanings of the word. The play self‐reflexively presents itself as presenting a new aesthetic: a new sensory experience and a new type
Martha B. Helfer
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