Ethnography, Theory, Experiment

Loving cows, then killing them. The relation with cattle in Mursi country is shaped by the dichotomy between the value given to it during life and the death imposed upon it. This book investigates the link between the nurturing and killing of cattle, and its accompanying aesthetics, with Mursi society itself.

The Children of Gregoria portrays a struggling Mexico, told through the story of the Rosales family. This book highlights their voices and allows them to tell their own stories in an accessible, literary manner without prejudice, persecution or judgment.

Co-authored by three anthropologists with long–term expertise studying Pentecostalism in Vanuatu, Angola, and Papua New Guinea/the Trobriand Islands respectively, Going to Pentecost offers a comparative study of Pentecostalism in Africa and Melanesia, focusing on key issues as economy, urban sociality, and healing. More than an ordinary comparative book, it recognizes the changing nature of religion in the contemporary world – in particular the emergence of “non-territorial” religion (which is no longer specific to places or cultures) – and represents an experimental approach to the study of global religious movements in general and Pentecostalism in particular.

Exploring the notion of masculinity among the Bugkalot, Cutting Cosmos is not only an experimental, anthropological study of the paradoxes around which Bugkalot society revolves, but also a reflection on anthropological theory and writing.

Focusing on the major ceremonial cycle of the Enawene-nawe people, Vital Diplomacy sheds new light on classic Amazonian themes such as manioc cultivation and cuisine, predatory relations with non-humans, and the interplay of myth and practice, and to consider dynamics of kin, clan, and gender relations, the meaning of productive work, and practices of foreign diplomacy.

Violent Becomings conceptualizes the Mozambican state not as the bureaucratically ordered polity of the nation-state, but as a continuously emergent and violently challenged mode of ordering. In doing so, this book addresses the question of why colonial and postcolonial state formation has involved violent articulations with so-called ‘traditional’ forms of sociality. The scope and dynamic nature of such violent becomings is explored through an array of contexts that include colonial regimes of forced labor and pacification, liberation war struggles and civil war, the social engineering of the post-independence state, and the popular appropriation of sovereign violence in riots and lynchings.

In one form or another, water participates in the making and unmaking of people’s lives, practices, and stories. Contributors analyse the union of water and social lives, thereby challenging anthropologists to foreground the mutable character of their subjects and responsibly engage with the generative role of cultural analysis.

Built around key events, this book explores politics among left radical activists in Northern Europe. The author recasts theoretical concerns about politics and aesthetics, drawing on anthropological literature from Scandinavia and the Amazon to establish analogies between perceptions of the body, autonomy, forests and capitalism.

Our political age is characterized by forms of description as ‘big’ as the world itself: talk of ‘public knowledge’ and ‘public goods,’ ‘the commons’ or ‘global justice’ create an exigency for modes of governance that leave little room for smallness itself. Rather than question the politics of adjudication between the big and the small, this book inquires instead into the cultural epistemology fueling the aggrandizement and miniaturization of description itself. Incorporating analytical frameworks from science studies, ethnography, and political and economic theory, this book charts an itinerary for an internal anthropology of theorizing. It suggests that many of the effects that social theory uses today to produce insights are the legacy of baroque epistemological tricks. In particular, the book undertakes its own trompe l’oeil as it places description at perpendicular angles to emerging forms of global public knowledge. The aesthetic ‘trap’ of the trompe l’oeil aims to capture knowledge, for only when knowledge is captured can it be properly released.