无权者与有权者之间的对抗充满了欺骗——无权者假装恭敬有礼，有权者则故意夸大他们的名望与掌控能力。如果仅接受这些表面价值，我们将无法把握权力关系中的各种矛盾、紧张和内在可能性。 通过考察世界各地文学、历史学、政治文化中的实例，著名政治学、人类学者詹姆斯· C. 斯科特深入探讨了支配者与从属群体的公开剧本及潜隐剧本之间的联系、区别和界限。出于各自的利益考虑，有权者与无权者会心照不宣地在公开互动中合作共谋，这使得公开剧本往往带有程式化和仪式化的色彩。相对地，任何从属群体都会在其苦难之中创造出特定的潜隐剧本，这些发生在后台的话语、姿态与实践代表着他们对支配者的某种权力批判。与此同时，有权者亦会发展出他们的潜隐剧本，即那些使其统治得以维系但又不能公开承认的措施和观点。 斯科特指出，在公开剧本和潜隐剧本之间最具分歧的地方，话语和权力关系会得到最为显著的表露；两者的交界之处，则是支配者与从属者持续斗争的重要地带。这部里程碑式著作，将修正我们对从属、抵抗、霸权、民间文化和反叛背后的各种观念的理解，并为权力关系的研究提供一条新的路径。

★ 美国社会学会2013年度“亚洲研究最佳著作奖” ★ 社会研究协会2012年度“全球化研究最佳著作奖” ★ “玛丽·道格拉斯图书奖”提名 ================================================ 作者通过在上海等地进行的深入细致的民族志访谈，记录了中国人寿保险市场在避谈死亡的文化禁忌下的发展历程及其背后的微观政治。书中提出的“文化多重互动模型”，对市场起源进行了具体而微的文化解释，呈现了作为共享价值观的文化和作为工具箱的文化的精彩交互。本书同样面对学术圈外的读者，包括人寿保险公司、经理和代理人，计划在中国开展业务的跨国公司，想要拓展海外业务的中国公司员工，以及希望了解中国文化是如何影响我们思想和行为的读者。 ================================================ 学者推荐: ============================================== 陈纯菁教授的这部著作始于田野（field work），却又超越了田野（field site），为我们精湛呈现了中国寿险市场上传统文化因素与现代经济理性的碰撞交织、全球化与本土化力量的纵横博弈、历史形塑的当下现状与未来趋势之间的内在关联，堪称新兴市场形成史的一幅优美画卷，也为我们如何进行中西学界之间的建设性对话提供了一个优秀范本。 ——符平教授，华中师范大学社会学系 可以有把握地说，《生老病死的生意：文化与中国人寿保险市场的形成》中译本的出版会给中国社会学，尤其给初创期的中国文化社会学，带来一缕清风。作者用其扎实而丰富的田野调查资料，简洁规范的行文方式，探讨了中国人寿保险业形成和发展过程中的文化作用。这一基于“工具箱”视角的经验发现，拓展了我们对于文化的认识，也为解释中国社会的关系特征注入了不少新解。同时，作为一本精良的社会学定性研究范本，相信在研究生及学者中一定能寻获知音、捕获佳碑。 ——周怡教授，复旦大学社会学系 陈纯菁这部精彩的民族志研究，把文化与经济是否具有兼容性的重要性提到一个新的高度，并精辟地剖析了与国际营销模式不兼容的中国本土文化（“死亡话题禁忌”）如何形塑了新营销模式的过程。《生老病死的生意》是一部富有理论创见的著作，选题新颖，资料详实，论证严密，从一个独特的视角为经济社会学的发展做出了重量级贡献。我相信，这将成为经济社会学领域的一本经典著作。 ——王宁教授，中山大学社会学与人类学学院

“普通人不比历史人物有人左一本右一本书，从不同的角度写他们，因而有立体的真实性。尤其中下层阶级以下，不论过去现在，都是大家知道得最少的人，最容易概念化。即使出身同一阶级，熟悉情形的，等到写起来也可能在怀旧的雾中迷失。所以奥斯卡•刘易斯的几本畅销书更觉可贵。” ——张爱玲 自1961年初版以来，《桑切斯的孩子们》被公认为深情而直白地讲述了贫穷所带来的极大不公。玛格丽特•米德说它“是对人类学的一次杰出贡献——并将永远如此”；路易斯•布努埃尔说，制作出如此忠实于这部原著的电影将是他职业的“顶峰”；菲尔德•卡斯特罗说它“具有革命性”，“价值超过五万份政治传单”。它不但被《时代周刊》评为“近十年最佳图书”，也引发了“墨西哥史上最为激烈的一次公共辩论”。 《桑切斯的孩子们》讲述了墨西哥城一个贫困家庭的故事，目的是向读者们呈现，在经历社会和经济巨变的拉美大城市中心区的贫民窟，住在一居室的出租屋里长大成人到底是怎样一番景象。 奥斯卡•刘易斯采用了一种全新的方法，让读者对一个普通家庭进行更深层次的查看，每一个家庭成员会用他们自己的语言讲述他们自己的生活经历。这种多人自传体的方法也易于减少调查者的偏见，并同时为读者带来情感上的满足和理解。因为人类学家在直接和受访对象接触时能够体会到这样的满足和理解，可在充斥了专业术语的人类学专著中却很少传递出来。

◆一次抵达12世纪的埃及之旅 ◆一段跨越800年关于“边界”和“跨越”的故事 ◆想象力丰富的历史学家，写就隐藏在旅行者故事中的真实历史 ◆用英语写作最负盛名的当代印度作家，引领独特文学流派的范本 ◆一部档案式的侦探小说、一份对现代化的反思、一位人类学者的研究记录 ------------------------------------------------------------------------------------------------------------------ 【内容简介】 这是两位身处埃及的印度人的故事。一位是12世纪的奴隶，另一位是社会人类学者和作家阿米塔夫·高希——他偶然从奴隶主人的信件里发现了这名奴隶的存在。在这个生活于数百年前的陌生人身上，高希感受到了难以名状的熟悉感。于是，他决定动身前往埃及的一个小村庄，探寻这名奴隶的故事。 ------------------------------------------------------------------------------------------------------------------ 【学者、媒体推荐】 高希的处女作《在古老的土地上》不是虚构文学，而是一位“想象力丰富的历史学家”或者说一位“具有感召力的民族志学家”的作品。 ——杜赞奇，历史学家、汉学家 这本书一部分是旅行回忆录，一部分是档案式的侦探小说，一部分则是多地域的民族志。……《在古老的土地上》重返12世纪的世界，一个连接了阿拉伯人、犹太人和南亚人的世界主义时空，一个尚未被西方的五百年经济和文化扩张塑形的世界。高希为我们重塑了一个已然消失的传统：南亚和中东之间的纽带。 ——《伦敦书评》 视野之开阔令人叹服……是历史、文化调查和游记的多元体……引人入胜。 ——《纽约时报》书评 非同凡响：一本既追溯到12世纪，又触碰到我们自己时代的难题的旅行书。 ——《泰晤士报》 动人地刻画了中东历史上一段鲜为人知故事，（本书）讲述的可以是任何拥有记忆、死亡和变化的地方。 ——《洛杉矶时报》 就像最好的游记一样，这本书同样也是一段才智和历史的旅程。 ——《华盛顿时报》 引人入胜的旅行故事……围绕埃及的过去、现在及其隐喻，《在古老的土地上》刻画了众多活灵活现的人物。高希用他细致的研究和生动的描写，呈现出精彩纷呈的故事。 ——《旧金山纪事报》 高希是一位态度谦逊、善于接受、让人喜欢的旅行者……对于作为观察者的旅行作家及其当地观察对象之间的寻常权力关系，本书做出了令人耳目一新的颠覆。 ——《卫报》

The early twenty-first century has seen an explosion of animation. Cartoon characters are everywhere—in cinema, television, and video games and as brand logos. There are new technological objects that seem to have lives of their own—from Facebook algorithms that suggest products for us to buy to robots that respond to human facial expressions. The ubiquity of animation is not a trivial side-effect of the development of digital technologies and the globalization of media markets. Rather, it points to a paradigm shift. In the last century, performance became a key term in academic and popular discourse: The idea that we construct identities through our gestures and speech proved extremely useful for thinking about many aspects of social life. The present volume proposes an anthropological concept of animation as a contrast and complement to performance: The idea that we construct social others by projecting parts of ourselves out into the world might prove useful for thinking about such topics as climate crisis, corporate branding, and social media. Like performance, animation can serve as a platform for comparisons of different cultures and historical eras. Teri Silvio presents an anthropology of animation through a detailed ethnographic account of how characters, objects, and abstract concepts are invested with lives, personalities, and powers—and how people interact with them—in contemporary Taiwan. The practices analyzed include the worship of wooden statues of Buddhist and Daoist deities and the recent craze for cute vinyl versions of these deities, as well as a wildly popular video fantasy series performed by puppets. She reveals that animation is, like performance, a concept that works differently in different contexts, and that animation practices are deeply informed by local traditions of thinking about the relationships between body and soul, spiritual power and the material world. The case of Taiwan, where Chinese traditions merge with Japanese and American popular culture, uncovers alternatives to seeing animation as either an expression of animism or as “playing God.” Looking at the contemporary world through the lens of animation will help us rethink relationships between global and local, identity and otherness, human and non-human.

This engaging introduction to Japan's burgeoning beauty culture investigates a wide range of phenomenon—aesthetic salons, dieting products, male beauty activities, and beauty language—to find out why Japanese women and men are paying so much attention to their bodies. Laura Miller uses social science and popular culture sources to connect breast enhancements, eyelid surgery, body hair removal, nipple bleaching, and other beauty work to larger issues of gender ideology, the culturally-constructed nature of beauty ideals, and the globalization of beauty technologies and standards. Her sophisticated treatment of this timely topic suggests that new body aesthetics are not forms of "deracializiation" but rather innovative experimentation with identity management. While recognizing that these beauty activities are potentially a form of resistance, Miller also considers the commodification of beauty, exploring how new ideals and technologies are tying consumers even more firmly to an ever-expanding beauty industry. By considering beauty in a Japanese context, Miller challenges widespread assumptions about the universality and naturalness of beauty standards.

The emergence of the hominids, more than five million years ago, marked the start of the human odyssey through space and time. This book deals with the last stage of this fascinating journey: the exploration of cyberspace and cybertime. Through the rapid global implementation of information and communication technologies, a new realm for human experience and imagination has been disclosed. Reversely, these postgeographical and posthistorical technologies have started to colonize our bodies and minds. Taking Homer's Odyssey and Kubrick's 2001: A Space Odyssey as his starting point, the author investigates the 'informatization of the world-view', focusing on its implications for our culture - arts, religion, and science - and, ultimately, our form of life. Moving across a wide range of disciplines, varying from philosophical anthropology and palaeontology to information theory, and from astrophysics to literary, film and new media studies, the author discusses our 'cyberspace odyssey' from a reflective position beyond euphoria and nostalgia. His analysis is as profound as nuanced and deals with issues that will be high on the agenda for many decades to come. In 2003 a Dutch Edition of Cyberspace Odyssey received the Socrates Prize for the best philosophy book published in Dutch.

《萨满教：古老的入迷术》此次被“内蒙古民族文化通鉴”选中，即将首次翻译成汉文。与本书题材类似的《金枝》很久以前就成为中国人类学、民族学、宗教学的必读书目，本书的翻译也必将填补业内的空白，可以将此书丰富多彩的萨满世界推给更多中国读者。本书稿由内蒙古大学外国语学院的段满福教授翻译，段教授在教学的同时，译著颇多，曾翻译出版《地球上的庄园：土著人如何塑造澳大利亚》《小王子》《后一课》等图书。该书共分14章。总体上看，该书结构有些类似西方音乐中的奏鸣曲式，可分为三大部分：呈示部， 即开头八章，为全书的基础；展开部, 第9章至第12章, 充分发挥开头八章所呈示的各主题中所具有的特征；再现部，即第13、14章，这后的两章基本上复现呈示部，再次回到对全局性特征的论述。

Why do contemporary art curators define their work as ethnography? How can curation illuminate the practice of contemporary anthropology? Does anthropology risk disappearing as a specific discipline within the general model of the curatorial? The Anthropologist as Curator collects together the research of international scholars working at the intersection of anthropology and contemporary art in order to explore these questions. The essays in the book challenge what it means to do ethnographic work, as well as the very definition of the discipline of anthropology in confrontation with the model of the curatorial. The contributors examine these ideas from a variety of angles, and the book includes perspectives from anthropologists who have set up their own exhibitions; those who have conducted fieldwork on the arts, including participatory practices, digital images and sound; and contributors who are currently working in a curatorial capacity at a museum.With case studies from the USA, Canada, Germany, Brazil, Mexico, India and Japan, the book represents an international perspective and is relevant to students and scholars of anthropology, contemporary art, museum studies, curatorial studies and heritage studies.

古埃及法老相信金色的床是去往来世的枢纽，路易十四国王在床帷里统治法国，丘吉尔“二战中”在床上挽救了英国。对莎士比亚来说，床是欢愉的社交场所，而对近代欧洲家庭而言，床是要和别家共享的设施。床曾是一个家庭最昂贵的家当，也是炫富的资本…… 床是从人们出生到坟墓的必经之地，也是我们讲故事、聊天和睡觉的场所。床所承担的作用，会因时间和地点不同而发生变化。床自7万年前开始就是一座“人类的剧场”，承载着我们千奇百怪的人生。然而，直到近代，我们所熟悉的床才变成了隐秘的私人空间。发生在人与床之间的无比丰富的人类社会史，基本上被我们遗忘了……

在中国人类学经过7多年的风风雨雨，进入了承上启下的时期。中国已经走向世界，世界比过去更加开放，社会文化人类学也在信息社会和市场经济的推动下，发生或者正在发生一系列的重要变化。中国的社会文化人类学（民族学）自7年代恢复和重建以来，已经有了长足的进步。中国的社会文化人类学和民族学，由于种种历史原因，没有得到一个从幼年到成年的自然生长过程，面对内部的需要和外来的影响，显得有些准备不足。虽然它们对国家的学

本書是一部對中國人類學華南研究具有啓發性意義的經典著作。 兩位來自美國的人類學學者，於上世紀六七十年代來到香港元朗新田及厦村居住，近距離觀察文氏及鄧氏兩個宗族的文化傳統，從人類學角度探討當時兩個鄉村的社會結構、性別差異及宗教禮儀。他們分工合作，紀錄及研究鄉村中男女的性別地位及等級觀念。 隨着新市鎮的興建，新界地貌已變，書中提及的某些小村落也從此消失，許多傳統禮儀不再流行，本書通過資料搜集呈現當年鄉村生活的各種精神活動，如過繼習俗、祭祠、結婚儀式及葬禮禁忌等這些已漸被遺忘的廣東鄉村禮儀。本書是本地歷史的獨特紀錄，其中理論更啓導了不少後學。 書評 這是一本值得關注及讚賞的非凡著作。它概述了兩位世界級學者的成就……他們對本土生活有著濃厚的興趣，對其研究的社區也充滿熱愛，這與強調全球流動性的新一代民族誌研究迥然不同……華琛及華若璧細膩又敏感地突顯了那些標誌着中國人類學重要時期的分析性議題及歷史證據。 ── 蕭鳳霞 （美國耶魯大學人類學系教授） 作者大大超越鄉村的局限，在其有關命名或信仰與禮儀的相關性等經典文章中探討了中國文化及社會的根本面向。本書不僅是了解新界鄉村社會的重要讀物，也令人深刻理解塑造這個鄉村社會的更廣闊的文化及歷史力量。 ── 孔邁隆 （美國哥倫比亞大學人類學系教授）

★追溯人类历史中关键的一万五千年，用科学的眼光填补历史的空白 公元前20000年的地球，寒冷、干燥、多风，大气中满是尘埃，四处横亘着冰川和沙漠。人类随时面临着灭绝的危险，只能同严寒和干旱斗争，艰难地生存下去。然而，他们尚不知道自己正身处巨变的前夕——随后的一万年，气候从干冷转向湿热，地球从冰河期转向间冰期。 就在这段时期，人类从居无定所的狩猎采集者转变成了定居农耕者。他们驯化了新的动植物、发明了农业，建造了城镇；他们开始拥有风俗和习惯，形成更复杂的社会结构，并最终创造了我们所拥有的文明。 他们没有书信、没有日记，甚至没有文字用以描绘他们的生活和见证的事件，在仰赖书面记录的历史学家眼中，他们的生活一片空白。考古学家检查他们留下的垃圾，以严谨的科学还原这段神秘的历史。 ★英国国家学术院院士、认知考古学先驱，用前沿的技术与靠谱的考古证据，呈现有趣的史前史 汇聚考古学、遗传学、植物学、地质学、气候学、语言学、基因历史学的前沿技术，深入世界各地的考古遗址，结合科学与人文，重现不复存在的远古世界。 不列颠的甲虫遗骸，证明了冰河时期的严峻低温；比利时的桦鼠与仓鼠，标志着全球气候变暖的开端；敲打加工过的燧石条、搭建的火炉、散落的鸟骨，见证了对整个史前世界人类生存至关重要的生火工作。 从古代沉积物中的花粉粒，追踪猎人们从地中海沿岸向东迁徙的足迹，再现史前人类餐桌上美味的天竺葵与藜；从墓室中的驼鹿雕像与狐狸牙齿和鹧鸪腿骨制成的珠子首饰，探索宗族、阶级、宗教信仰的原始面貌。 石质工具、陶器、火炉、食物残渣、动植物遗骸、被遗弃的定居点、壁画、墓葬、基因、语言……作者米森抽丝剥茧，以有趣生动的讲述全面完整的史前史。 ★通过一个现代人的穿越时空之旅，横跨五大洲，再现史前人类的生活全景与细节 史前人类是头脑空空的野蛮人吗？这些人发明农业、筑造城镇，最后创造了辉煌的文明。 北欧的猎人在风雪中追击驯鹿，法国的艺术家在山洞绘制壁画，中国的制陶人同时驯化了稻米。还有一群人在乌克兰用猛犸骨骼建造房屋，在苏格兰烤榛子，在死海西岸的住所为亲人的头骨涂上石膏，并在土耳其的加泰土丘建造最古老的定居点之一。 他们驯化了绵羊和山羊，驯化了谷物与豆类，完成了人类从狩猎和采集向农业生活的转变。他们搭建村庄、打磨石器、储备食物、围绕篝火开展聚会，建立社群秩序与宗教信仰。 穿越时空，回到石器时代，一同体验冰河时期之后面对全球巨变的史前人类，如何在努力生存的同时创造历史，成为人类文明鼎盛的基石。 ---------------------- 内容简介： 公元前20000年，最后一个冰河时代的顶峰——大气层中弥漫着浓重的尘埃，沙漠和冰川横亘在广阔的陆地上。人类即使能够生存下来，也时刻面临着灭绝的威胁。随后的一万五千年，全球骤然变暖，气候变迁带来农业、城镇和文明的兴起。新驯化的动植物开始出现，人们的生活方式从狩猎和采集转向农业，人类的历史进程彻底转变了方向。 《史前人类简史》综合了考古学、遗传学和环境科学的最新研究成果，对从冰河融化到农耕诞生这一万五千年的人类历史进行了一次全面考察。作者史蒂文·米森想象了一位现代旅行者约翰·卢伯克。读者将跟随着他的脚步，一同探索五大洲的各处史前遗迹，纵览全球人类的进化图景，并思索这一特殊时期如何为我们所处的现代世界奠定根基。

Practicing Art and Anthropology presents an in-depth exploration of transdisciplinary work in the expanding space between art and anthropology. Having trained and worked as an artist as well as an anthropologist, Anna Laine's decades-long engagement in art practice, artistic research and anthropology provide her with a unique perspective on connections between the two fields, both in theory and in practice. Intertwining artistic and anthropological ways of working, Laine asks what it means to engage a transdisciplinary stance when academia requires a specific disciplinary belonging. In order to expand the methods of producing academic knowledge by going beyond conventional approaches to research, she draws on examples from her own work with Tamils in India and the UK to present an original take on how we can cross the boundaries between art and anthropology to reach multiple dimensions of understanding. Offering exceptional breadth and detail, Practicing Art and Anthropology provides a unique approach to the discussion. An important read for students and scholars in art and anthropology as well as artists and anyone interacting in the space in-between.

Anthropology and Art Practice takes an innovative look at new experimental work informed by the newly-reconfigured relationship between the arts and anthropology. This practice-based and visual work can be characterised as 'art-ethnography'. In engaging with the concerns of both fields, this cutting-edge study tackles current issues such as the role of the artist in collaborative work, and the political uses of documentary. The book focuses on key works from artists and anthropologists that engage with 'art-ethnography' and investigates the processes and strategies behind their creation and exhibition. The book highlights the work of a new generation of practitioners in this hybrid field, such as Anthony Luvera, Kathryn Ramey, Brad Butler and Karen Mizra, Kate Hennessy and Jennifer Deger, who work in a diverse range of media - including film, photography, sound and performance. Anthropology and Art Practice suggests a series of radical challenges to assumptions made on both sides of the art/anthropology divide and is intended to inspire further dialogue and provide essential reading for a wide range of students and practitioners.

While the importance of the relationship between anthropology and contemporary art has long been recognized, the discussion has tended to be among scholars from North America, Europe, and Australia; until now, scholarship and experiences from other regions have been largely absent from mainstream debate. Alternative Art and Anthropology: Global Encounters rectifies this by offering a ground-breaking new approach to the subject. Entirely dedicated to perspectives from Asia, Latin America, and Africa, the book advances our understanding of the connections between anthropology and contemporary art on a global scale. Across ten chapters, a range of anthropologists, artists, and curators from countries such as China, Japan, Indonesia, Bhutan, Nigeria, Chile, Ecuador, and the Philippines discuss encounters between anthropology and contemporary art from their points of view, presenting readers with new vantage points and perspectives. Arnd Schneider, a leading scholar in the field, draws together the various threads to provide readers with a clear conceptual and theoretical narrative. The first to map the relationship between anthropology and contemporary art from a global perspective, this is a key text for students and academics in areas such as anthropology, visual anthropology, anthropology of art, art history, and curatorial studies.

Making creates knowledge, builds environments and transforms lives. Anthropology, archaeology, art and architecture are all ways of making, and all are dedicated to exploring the conditions and potentials of human life. In this exciting book, Tim Ingold ties the four disciplines together in a way that has never been attempted before. In a radical departure from conventional studies that treat art and architecture as compendia of objects for analysis, Ingold proposes an anthropology and archaeology not of but with art and architecture. He advocates a way of thinking through making in which sentient practitioners and active materials continually answer to, or 'correspond', with one another in the generation of form. Making offers a series of profound reflections on what it means to create things, on materials and form, the meaning of design, landscape perception, animate life, personal knowledge and the work of the hand. It draws on examples and experiments ranging from prehistoric stone tool-making to the building of medieval cathedrals, from round mounds to monuments, from flying kites to winding string, from drawing to writing. The book will appeal to students and practitioners alike, with interests in social and cultural anthropology, archaeology, architecture, art and design, visual studies and material culture.

Between Art and Anthropology provides new and challenging arguments for considering contemporary art and anthropology in terms of fieldwork practice. Artists and anthropologists share a set of common practices that raise similar ethical issues, which the authors explore in depth for the first time. The book presents a strong argument for encouraging artists and anthropologists to learn directly from each other's practices in the field. It goes beyond the so-called ethnographic turn of much contemporary art and the crisis of representation in anthropology, in productively exploring the implications of the new anthropology of the senses, and ethical issues, for future art-anthropology collaborations. The contributors to this exciting volume consider the work of artists such as Joseph Beuys, Suzanne Lacy, Marcus Coates, Cameron Jamie, and Mohini Chandra. With cutting-edge essays from a range of key thinkers such as acclaimed art critic Lucy R. Lippard, and distinguished anthropologists George E. Marcus and Steve Feld, Between Art and Anthropology will be essential reading for students, artists and scholars across a number of fields.