The publication of this book in 1981 profoundly changed the way in which we understand the history of relations between indigenous Australians and European settlers. Describes in meticulous and compelling detail the ways in which Aborigines responded to the arrival of Europeans.
This detailed and comprehensive guide provides biographical information on the most influential and significant figures in world anthropology, from the birth of the discipline in the nineteenth century to the present day. Each of the fifteen chapters focuses on a national tradition or school of thought, outlining its central features and placing the anthropologists within their intellectual contexts. Fully indexed and cross-referenced, The Routledge Dictionary of Anthropologists will prove indispensable for students of anthropology.
The museum boom, with its accompanying objectification and politicization of culture, finds its counterpart in the growing interest by social scientists in material culture, much of which is to be found in museums. Not surprisingly, anthropologists in particular are turning their attention again to museums, after decades of neglect, during which fieldwork became the hallmark of modern anthropology - so much so that the "social" and the "material" parted company so radically as to produce a kind of knowledge gap between historical collections and the intellectuals who might have benefitted from working on these material representations of culture. Moreover it was forgotten that museums do not only present the "pastness" of things. A great deal of what goes on in contemporary museums is literally about planning the shape of the future: making culture materialize involves mixing things from the past, taking into account current visions, and knowing that the scenes constructed will shape the perspectives of future generations. However, the (re-)invention of museum anthropology presents a series of challenges for academic teaching and research, as well as for the work of cultural production in contemporary museums - issues that are explored in this volume.
Hunters and Collectors is about historical consciousness and environmental sensibilities in European Australia from the mid-nineteenth century to the present. It is in part a collective biography of amateur antiquarians, archaeologists, naturalists, journalists and historians: people who shaped the Australian historical imagination. Dr Griffiths illuminates the way these avid collectors and investigators of the Australian land and of its indigenous inhabitants contributed a sense of identity at colony-wide and eventually nationwide level. He also considers the rise of professional history, anthropology and archaeology in the universities, which ignored the efforts of the amateurs. Griffiths shows how the seemingly trivial activities of these hunters and collectors feed into the political and environmental debates of the 1990s. This book is outstanding in its originality, interpretative insight and literary flair.
First published in 1958, From Ape to Angel is a popular history of social anthropology which sketches the extraordinary world of ethical, religious and marital customs revealed by the men and women who travelled to remote places to live among and observe primitive people. Here, in absorbing detail, are the findings of such scholars as Henry Schoolcraft, who unravelled the mysteries of kinship among American Indians; Edward Westermarck, who studied gorillas to seek the origins of monogamy; Sir James Frazer, who dealt with the meaning of ritual and symbolism; Franz Boas, who explored the nature of totem and taboo; Bronislaw Malinowski, who investigated the sexual life of savages; and many other whose adventurous study has added to man’s knowledge of social man. This book will be of interest to students of anthropology, history and sociology.
This publication brings together existing research as well as new data to show how Arnhem Land bark painting was critical in the making of Indigenous Australian contemporary art and the self-determination agendas of Indigenous Australians. It identifies how, when and what the shifts in the reception of the art were, especially as they occurred within institutional exhibition displays. Despite key studies already being published on the reception of Aboriginal art in this area, the overall process is not well known or always considered, while the focus has tended to be placed on Western Desert acrylic paintings. This text, however represents a refocus, and addresses this more fully by integrating Arnhem Land bark painting into the contemporary history of Aboriginal art. The trajectory moves from its understanding as a form of ethnographic art, to seeing it as conceptual art and appreciating it for its cultural agency and contemporaneity.