Images Of The Other

In tourism, strangers meet face to face. What do Tanzanian Maasai and Western tourists think when they meet? Using a combination of methods that has never been tried in anthropology, or in the field of tourism studies, this work provides novel theoretical insights into the images hosts and guests have of each other, and how their views relate to the interactions they experience. This compelling reflexive study uses video and Q method to contribute to the epistemology of anthropological research in tourism settings, and the construction of a new, more symmetrical anthropology. Dissertation. ***An important contribution to the growing field of the anthropology of tourism, an example of intense and methodical fieldwork, combined with theoretical acumen and deep reflexivity.--Prof. Dr Walter E. A. van Beek (Tilburg U.) (Series: Contributions to African Research / Beitr�¤ge zur Afrikaforschung, Vol. 76) [Subject: African Studies, Tourism Studies, Anthropology, Sociology]

This book provides a detailed linguistic analysis of the nationalist discourses of the German Second Reich, which most effectively demonstrate the contrasting images of the German Self and its various Others, such as Jews, native Africans, gypsies and the enemy Other during the First World War.

This is an expanded and updated version of Nan Goldin's seminal book The Other Side, originally published in 1993. There will be a revised introduction by Goldin, and for the first time the voices of those whose stories are represented. Now being released at a time when the discourse around gender and sexual orientation is evolving, The Other Side traces some of the history that informs this new visibility. The first photographs in the book are from the 1970s, when Goldin lived in Boston with a group of drag queens and documented their glamour and vulnerability. In the early eighties, Goldin chronicled the lives of transgender friends in New York when AIDS began to decimate her community. In the nineties, she recorded the explosion of drag as a social phenomenon in New York, Berlin and Bangkok, photographing their public personas while showing their real lives backstage. Goldin's newest photographs are intimate portraits, imbued with tenderness, of some of her most beloved friends. The Other Side is her homage to the queens she's loved, many of whom she's lost, over the last four decades. The pictures in this book are not of people suffering gender dysphoria but rather expressing gender euphoria... - Nan Goldin

Understanding Dreams and Other Spontaneous Images: The Invisible Storyteller applies a contemporary interdisciplinary approach to dream interpretation, bringing cognitive anthropology, folklore studies, affective neuroscience, and dynamic systems theory to bear on contemporary psychodynamic clinical practice. It provides a practical guide for working with dreams that can be used by both individuals on their own and therapists working with clients. Erik D. Goodwyn invites us to examine key features of reported dreams, such as the qualities of the environment depicted, its familiarity or unfamiliarity, the nature of the characters encountered, and overall themes. This method facilitates an understanding of the dream in the full context of the dreamer’s life, rather than interpreting individual, isolated elements. Goodwyn also introduces the mental process which orchestrates dreams, conceptualised here as the ‘Invisible Storyteller’, and explores how understanding it can positively impact satisfaction in waking life. As a whole, the book provides a collection of tools and techniques which can be referred to time and again, as well as a wealth of examples. Exploring dreams as a natural source of clinical insight, The Invisible Storyteller will appeal to Jungian psychotherapists and analytical psychologists, other professionals working with dreams with clients, and readers looking for a scientific approach to dream interpretation.

The Biscuit on the Back of the Stove is a spiritual journey inviting the reader to explore the many ways in which God is present to all of us. Through stories and personal experiences Bev encourages each of us to tell our own stories. We are invited to pay attention to the many places where our God is lurking, waiting patiently for us to notice. With prayerful reflection this book can be an enhancement to anyone 's relationship with their God.

In about 25 BC tribesmen of the kingdom of Meroe placed a bronze head of Augustus, cut from a full-length statue, beneath the steps of a temple of victory: the decapitated head of the Emperor was thus regularly trampled underfoot. Two millennia later, during the second Gulf War, Iraqis 'insulted' a toppled bronze statue of Saddam Hussein by beating it with their shoes. Do these chronologically distant but apparently related examples of the defamation of images imply that the persons represented were regarded by their detractors as in some way 'present' in the images? Presence: The Inherence of the Prototype within Images and Other Objects reconsiders the notion of 'presence' in objects. The first book to address the issue directly, it contains a series of case studies covering a broad geographical and chronological range from ancient Greece and the Incas to industrial America and contemporary India, as well as examples from the canon of western European art. The studies reveal the widespread evidence for this striking form of response and allow readers to see how 'presence' is evoked and either embraced or repressed in differing historical and cultural contexts. Featuring a variety of disciplines and approaches, the book will be of interest to students of art history, art theory, visual culture, anthropology, psychology and philosophy.

Making Images Move reveals a new history of cinema by uncovering its connections to other media and art forms. In this richly illustrated volume, Gregory Zinman explores how moving-image artists who worked in experimental film pushed the medium toward abstraction through a number of unconventional filmmaking practices, including painting and scratching directly on the film strip; deteriorating film with water, dirt, and bleach; and applying materials such as paper and glue. This book provides a comprehensive history of this tradition of “handmade cinema” from the early twentieth century to the present, opening up new conversations about the production, meaning, and significance of the moving image. From painted film to kinetic art, and from psychedelic light shows to video synthesis, Gregory Zinman recovers the range of forms, tools, and intentions that make up cinema’s shadow history, deepening awareness of the intersection of art and media in the twentieth century, and anticipating what is to come.