The following pages describe anthropology's relationship with colonialism. The reading emphasizes why colonial history is relevant to students' lives and emphasizes practical ways to practice cultural relativism. 

The following pages describe anthropology's relationship with colonialism. The reading emphasizes why colonial history is relevant to students' lives and emphasizes practical ways to practice cultural relativism. 

The following pages describe anthropology's relationship with colonialism. The reading emphasizes why colonial history is relevant to students' lives and emphasizes practical ways to practice cultural relativism. 

This course applies the tools of anthropology to examine biology in the age of genomics, biotechnological enterprise, biodiversity conservation, pharmaceutical bioprospecting, and synthetic biology. It examines such social concerns such as bioterrorism, genetic modification, and cloning. It offers an anthropological inquiry into how the substances and explanations of biology — ecological, organismic, cellular, molecular, genetic, informatic — are changing. The course also examines such artifacts as cell lines, biodiversity databases, and artificial life models, and using primary sources in biology, social studies of the life sciences, and literary and cinematic materials, asks how we might answer Erwin Schrödinger's 1944 question, "What Is Life?", today.

This course applies the tools of anthropology to examine biology in the age of genomics, biotechnological enterprise, biodiversity conservation, pharmaceutical bioprospecting, and synthetic biology. It examines such social concerns such as bioterrorism, genetic modification, and cloning. It offers an anthropological inquiry into how the substances and explanations of biology—ecological, organismic, cellular, molecular, genetic, informatic—are changing. It examines such artifacts as cell lines, biodiversity databases, and artificial life models, and using primary sources in biology, social studies of the life sciences, and literary and cinematic materials, and asks how we might answer Erwin Schrodinger's 1944 question, "What Is Life?" today.

This course introduces the ethnographic study of politics, i.e., what anthropologists understand to be "political" in various social and economic systems, from small-scale societies to liberal democratic states. It examines politics across three contemporary contexts: electoral politics, public spheres, bureaucracies and humanitarian governance. Students consider and analyze how questions of authority, coercion, and violence have been theorized to relate to the political, and how some aspects of social life are regimented in explicitly non-political ways.

This course examines the birth and international expansion of an American industry of political marketing. It focuses attention on the cultural processes, sociopolitical contexts and moral utopias that shape the practice of political marketing in the U.S. and in different countries. By looking at the debates and expert practices at the core of the business of politics, the course explores how the "universal" concept of democracy is interpreted and reworked through space and time, while examining how different cultural groups experimenting with political marketing understand the role of citizens in a democracy.

This class examines the ways humans experience the realm of sound and how perceptions and technologies of sound emerge from cultural, economic, and historical worlds. In addition to learning about how environmental, linguistic, and musical sounds are construed cross-culturally, students learn about the rise of telephony, architectural acoustics, and sound recording, as well as about the globalized travel of these technologies. Questions of ownership, property, authorship, and copyright in the age of digital file sharing are also addressed. A major concern will be with how the sound/noise boundary has been imagined, created, and modeled across diverse sociocultural and scientific contexts. Auditory examples — sound art, environmental recordings, music — will be provided and invited throughout the term.

This course examines the ways humans experience sound and how perceptions and technologies of sound emerge from cultural, economic, and historical worlds. It considers how the sound/noise/music boundaries have been imagined, created, and modeled across sociocultural and historical contexts. Students will learn how environmental, linguistic, and musical sounds are construed cross-culturally as well as the rise of telephony, architectural acoustics, sound recording, multi-channel and spatial mix performance, and the globalized travel of these technologies. Questions of sound ownership, property, authorship, remix, and copyright in the digital age are also addressed.

This class has been reorganized to focus primarily on the War in Iraq. As in previous years, the class still examines war in cross-cultural perspective, asking whether war is intrinsic to human nature, what causes war, how particular cultural experiences of war differ, and how war has affected American culture.

This course examines traditional performances of the Arabic-speaking populations of the Middle East and North Africa. Starting with the history of the ways in which the West has discovered, translated and written about the Orient, we will consider how power and politics play roles in the production of culture, narrative and performance. This approach assumes that performance, verbal art, and oral literature lend themselves to spontaneous adaptation and to oblique expression of ideas and opinions whose utterance would otherwise be censorable or disruptive. In particular we will be concerned with the way traditional performance practices are affected by and respond to the consequences of modernization.
Topics include oral epic performance, sacred narrative, Koranic chant performance, the folktale, solo performance, cultural production and resistance.

The Antiquities of Wisconsin, Increase A. Lapham's most important published work, includes 92 pages of text, illustrated with 61 wood engravings, and 55 lithographed plates and was the result of his research into the Indian effigy mounds found on Wisconsin's Landscape.

El libro presenta una exploración profunda de la relación entre la alimentación y la evolución humana. Inicia descifrando los cambios dietéticos de los primeros homínidos y cómo estos cambios influenciaron su desarrollo físico y cognitivo, desde la dentición hasta el aumento del tamaño cerebral. Luego analiza la influencia cultural y sociopolítica en la dieta de antiguas civilizaciones como Egipto, Roma y China. Se destaca la alimentación en culturas precolombinas, resaltando la diversidad agrícola, sus prácticas sostenibles y la conexión cósmica con la tierra. Aborda también, la Revolución Industrial y cómo transformó los patrones alimentarios, llevando a problemas de salud en la modernidad. También se discute la "revolución verde" y las tecnologías para mejorar la producción alimentaria. Y finalmente se explica sobre la sostenibilidad en los sistemas alimentarios y las innovaciones para el futuro, como la carne de laboratorio y la nutrición basada en insectos. El libro concluye reconociendo la nutrición como una ciencia multidisciplinaria, que busca garantizar la salud y calidad de vida. Esta obra es el resultado de un esfuerzo colectivo de académicos que buscan entender la alimentación humana desde sus orígenes hasta el presente.

A Humanities Textbook: Lower Division

Short Description:
An introductory examination of cultural appropriation in the fine arts and popular arts of the United States, with reference to historical, literary, and other cultural developments. The primary focus is the use of cultural appropriation to communicate ideas about racial identity in ways that have served the interests of the dominant culture. Areas of specific concern are voice appropriation, content appropriation, style appropriation, and motif appropriation. The emphasis is on historically significant examples in the visual arts, literature, theater, and music. As expressive communication, the arts are central to cultural identity. Cultural appropriation is wrong when it undermines America's diversity of cultural identities. Generations of American artists have used cultural appropriation as a tool of racial privilege. Despite this history of harmful and wrongful appropriation, cultural appropriation also provides a tactic of response and self-empowerment for non-dominant groups. Appropriation is frequently used by non-dominant groups and subcultures as a tool of active resistance against stereotyping and discrimination.

Word Count: 68176

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

Pomona College -- fall 2022

Word Count: 33688

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

Archiving for the Future is a free training course designed to teach language documenters, activists, and researchers how to organize, arrange, and archive language documentation, revitalization, and maintenance materials and metadata in a digital repository or language archive. Then entire course can be completed in approximately 3-5 hours.

This course was developed by the staff of the Archive of the Indigenous Languages of Latin America at the University of Texas at Austin in consultation with representatives of various DELAMAN (https://www.delaman.org/) archives and other digital data repositories in the United States, the United Kingdom, the European Union, Australia, and Cameroon.

The course material is based upon work supported by the National Science Foundation under Grant No. BCS-1653380 (September 1, 2016 to August 31, 2020). Any opinions, findings, and conclusions or recommendations expressed in this material are those of the authors and do not necessarily reflect the views of the National Science Foundation.

This course examines how people learn, practice, and evaluate traditional and contemporary craft techniques. Social science theories of design, embodiment, apprenticeship learning, skill, labor, expertise, and tacit knowledge are used to explore distinctions and connections among art, craft, and science. We will also discuss the commoditization of craft into market goods, collectible art, and tourism industries. Ethnographic and historical case studies include textiles, glassblowing, quilting, cheese making, industrial design, home cooking, factory and laboratory work, CAD-CAM. In-class demonstrations and hands-on craft projects will be included.

This subject focuses on the objects, history, context, and critical discussion surrounding art since World War II. Because of the burgeoning increase in art production, the course is necessarily selective. We will trace major developments and movements in art up to the present, primarily from the US; but we will also be looking at art from Europe, Asia, Africa, Latin America, and the Middle East, as well as art "on the margins" — art that has been overlooked by the mainstream critical press, but may have a broad cultural base in its own community. We will ask what function art serves in its various cultures of origin, and why art has been such a lightning rod for political issues around the world.

Anthropology is the study of all humans in all times in all places. But it is so much more than that. “Anthropology requires strength, valor, and courage,” Nancy Scheper-Hughes noted. “Pierre Bourdieu called anthropology a combat sport, an extreme sport as well as a tough and rigorous discipline. … It teaches students not to be afraid of getting one’s hands dirty, to get down in the dirt, and to commit yourself, body and mind. Susan Sontag called anthropology a “heroic” profession.” What is the payoff for this heroic journey? You will find ideas that can carry you across rivers of doubt and over mountains of fear to find the the light and life of places forgotten. Real anthropology cannot be contained in a book. You have to go out and feel the world’s jagged edges, wipe its dust from your brow, and at times, leave your blood in its soil. In this unique book, Dr. Michael Wesch shares many of his own adventures of being an anthropologist and what the science of human beings can tell us about the art of being human. This special first draft edition is a loose framework for more and more complete future chapters and writings. It serves as a companion to anth101.com, a free and open resource for instructors of cultural anthropology.