Cultural anthropology

This dissertation offers a historical look at the book cover as a material object of particular significance. As a part of the bibliographical tradition, the cover binds the book not only to its reader, but also to the culture that gives it meaning. Consequently, by chronologically reviewing the book cover through a mix of historical and fictional accounts, this study had as its goal to affirm the difficulty of judging the book cover without knowing its social history. The first project of this study takes the elaborately decorated bindings of Medieval manuscripts as the origin point for the modern book cover and retraces the attitudes and approaches to the book cover through the accounts of printers, binders, readers and collectors. The definition of the book cover then emerges as the result of the discursive dialogue between the material and aesthetic concerns of the book paratext. The second project expands the scope of the study from book covers made for Bibles and religious texts to the mechanical production of commercially defined gift books and aesthetic volumes. Looking at the book cover both as an object and a cultural agent, the discussion focuses on challenges readers go through in attempting to bring the meaning of the cover under their subjective control. Finally, the third project focuses on the twentieth century and the development of mass and artistic forms of designing and reading the book cover. Here, special attention is given to the similarities and differences between two main forms of books, hardbacks and paperbacks, as they continue to collaborate and compete in producing the most effective cover paradigm. The final section presents a brief summary of the dissertation and concludes with a brief projection about the future role and functions of the book cover.

Author Keywords: book cover, cultural history, design history, dust jacket, Oscar Wilde, Virginia Woolf

This research represents the first stable carbon and nitrogen isotope analysis of human bone collagen (n = 29) from the Escape Site (AD 300 - 1000), Saint Vincent. As a two-pronged investigation, this research had the following goals: (1) determining the ideal pretreatment for poorly preserved bones and (2) reconstructing the Escape Site sample population diet. By incorporating powdered specimens, shorter demineralizations and increased acid:sample exposure, higher collagen yields were produced, thereby expanding the sample size for isotopic analysis. Notably, the elemental data suggests that not all isolated collagen was biogenic and was perhaps contaminated by non-collagenous proteins. This highlighted the importance of using multiple criteria to rigorously evaluate collagen based on the full quality indicator profile. In the end, 5 individuals yielded useable isotope data which was consistent with a broad spectrum diet relying primarily on C3 plants as well as terrestrial, reef, nearshore and freshwater fauna. Within the broad region, the Escape Site data was comparable to other islands from the Lesser Antilles and Cuba emphasizing the influence of regional biodiversity as well as the likelihood that the studied population contributed and benefitted from the extensive Saladoid trade networks which existed at the time.

Author Keywords: Caribbean, Collagen, Escape Site, Human diet, Saladoid, Stable isotope analysis

Memorable Movie Watching: Viewer Ruminations about Memory in Four Canadian Films and their IMDb User Reviews explores how four Canadian films released in the decade around the turn of the millennium tell stories of memory and remembering, and how User Reviewers writing on the IMDb.com engage with, respond to, and re–remember those narratives filtered through their own remembered personal experiences. It embraces a new form of audience research by analyzing films alongside voluntary viewer contributions in order to bring these viewers' voices into the conversation about memory in film and specifically Canadian film.Lilies (John Greyson, 1996), The Hanging Garden (Thom Fitzgerald, 1997), Marion Bridge (Wiebke Von Carolsfeld, 2002), and My Winnipeg (Guy Maddin, 2007) are each fiction films that focus on the main character's deeply personal childhood memories. A textual analysis of the four films reveals trends in how the filmmakers create memory explorations and memory works [works based on memory] in Canadian film. A further textual and thematic analysis of the IMDb's 117 User Reviews for these four films reveals how viewers engage with what I term memory narratives and the personal memories these films spark. The four films respectively privilege, through narrative and filmic techniques, each protagonist's telling of remembered childhood events. Yet when User Reviewers of the films comment on the protagonist's remembered childhood events, they choose to contest them, citing the unreliability of the remembered and of memory itself. User Reviewers interrogate the film narratives against their own personal experience, all the while asserting that there is significance to be found in the process of remembering. For User Reviewers, this process of remembering involves engaging with the film and then writing about their memories of watching the film and its narrative through their own sparked memories. In this process, they dig for significant meaning even though Users rarely articulate that meaning or specify for whom it is meaningful. In their writing, Users do reveal their own thoughts and beliefs about Canadian film, as well as their knowledge of filmmakers, related texts, Canadian locations, and their own childhood and youth experiences. Key words Memory, Remembering, Canadian Film, User generated content, Audience, Viewer, Thom Fitzgerald, John Greyson, Guy Maddin, Wiebke von Carolsfeld Content Warning Please note: the memory stories depicted in these films, discussed in the User Reviews and in this dissertation are extremely disturbing and may be upsetting to the reader.

Author Keywords: Audience, Canadian Film, Memory, Social Media, User Generated Content, Viewer

Why show things that aren't people acting like people? In the field of animation, it's a surprisingly big "why?", because it's a "why?" that doesn't lead to any sort of doctrine of ontology, of inevitability, of manifest destiny, or of anything like that. But it does lead to another "why?"—"why did anthropomorphic depictions of animals and non-human entities come to define an entire era of American short-form animation?" When we think about 'classic era' cartoon shorts, the first names that come to mind are likely to be those of anthropomorphic animal characters—Mickey Mouse, Bugs Bunny, and a list of others so numerous that any machine Wile E. Coyote tried to build to count them all would probably explode. This can make us lose sight of the fact that human characters had their place as well in these films: Bugs and Daffy regularly tangled with Elmer Fudd; the studio that made cartoon stars of Betty Boop and Popeye produced no famous animal characters at all in its heyday. And yet, it's the animals that steal the show in the animated shorts produced by major studios in America from the 1920s through the 1960s. Part of their appeal lies in the fact that they were useful and recognizable substitutes for humans. Without making things too 'personal' for the audience, they could be used to examine and deconstruct social practices in the full-speed-ahead period that took America from World War I to the war in Vietnam. Animals weren't the only ones to get a full-on anthropomorphic treatment in these shorts. Machines and other artefacts came to life and became sites of interrogation for contemporary anxieties about the twentieth century's ever-expanding technological infrastructure; parts of the natural world, from plant life to the weather, acted with minds of their own in ways that harken back to the earliest animistic folk beliefs. No matter when or how it's being used, anthropomorphism in animation is a device for answering, not one big "why?", but a lot of little "why?"s. What you're about to read is an exploration of a few of those little "why?"s.

Author Keywords: America, Animation, Anthropomorphism, Cartoons, Deconstruction, Popular Culture

This thesis examines racism in Argentina between 1880 and 1930. The governing elite's efforts to whiten the Argentine population at the end of the nineteenth century led to the erasure and discrimination of anyone who did not have Caucasian features: Afro-descendants, mulattos, mestizos, and creoles. However, in the 1930s, whitening policies proved to have limited success. On the one hand, Afro-descendants were praised by the middle and lower classes of Buenos Aires; on the other hand, the Great Depression's effects made it clear that the Argentine population was made up of an ethnic mixture that had much darker skin tones than the whitening elite preferred. This work will show how the impact of the 1930s global crisis, as well as the enthusiasm for Afro-descendants, reinforced the racism that still existed, and will demonstrate that blackness became more than a racial but also a class connotation.

Author Keywords: Afro-descendants press, Blackness in Argentina, Buenos Aires Press, Cultural Constructions, Popular Blackness, Racial Identity

Artistic expressions such as writing, theatrical productions, music, and film arguably contribute to a culture's representation of itself to the outside world. Most cultures have been either read or misread through their artistic outputs over the course of history, although the Irish culture stands as a particularly misunderstood one. Through years of colonization and rebel warfare, the country's culture has acquired a particularly imagined depiction; violent, which through centuries has resulted in a flawed cultural imaginary today. This thesis presents this issue and proposes a means to better understand the Irish culture through a deeper understanding of the factors that have led the country's cultural imaginary to its current misrepresentative state. Through an exploration of texts, theatre, music, and film, this thesis uncovers the factors which have led to Ireland's current cultural depiction in hopes of creating a better understanding of the Irish culture.

Author Keywords: cultural imaginary, Ireland, Irish culture, Irish stereotypes, public image, stereotypes

This research is an ethnographic investigation into the relationships between the Stélida Naxos Archaeological Project and the local population of Vivlos, the region where the team takes their seasonal residence during their annual archaeological field season. Fieldwork in Vivlos revealed the local peoples' interest in archaeology, local legends, and Greek history. The people's cultural identity facilitated a sense of communal pride with hosting the archaeologists for their field season. The archaeologists' ethical considerations and their friendliness towards the locals during their time in Vivlos followed practices affiliated with public archaeology, laying the groundwork for maintaining positive working relations between the two groups.

Author Keywords: Archaeology, Engagement, Local Communities, Public Outreach

The purpose of this study was to understand the lived experiences of mental health and illness in Kuwait. Twenty-six participants were interviewed, including mental health professionals, family physicians, and service users. Findings suggest that inequality, oppression, and human rights violations may drive mental health issues in Kuwait. However, rather than addressing these factors, many healthcare providers are endorsing psychological testing and psychiatric medication, which may be resulting in the same iatrogenic (physician-induced) drug dependence that is seen in North America. An analysis of mainstream psychological theory, research and practice is provided, along with a bioethical critique of the World Health Organization's efforts to reduce the global 'burden' of mental disorders. This study cuts across disciplinary boundaries and 1) supports medical anthropologists' criticisms of the 'advancement' of global mental healthcare; 2) provides participant-driven, community-based alternatives that are specific to Kuwait; and 3) informs culturally defined notions of 'care' and 'ethics'.

Author Keywords: Clinicians' narratives, Critical Psychology, Human rights, Kuwait, Qualitative research, Transcultural psychiatry

This thesis studies a subset of players of video games called "power-gamers" who play games in a way that mirrors labour as opposed to leisure. Through ethnographic fieldwork and exploration this thesis examines what constitutes "power-gaming" and seeks to unpack the differences between skill, fun, and labour. Chapter One analyzes how ethnographic fieldwork is performed in virtual worlds, and the necessary frameworks inherent to this. Chapter Two explores facets of technical hobbies, masculinity, skill, and how they relate to power-gaming. Chapter Three explores how different cultures globally choose to play-games, and the forms of sociability involved in this play. Chapter Four examines reality in relation to virtual worlds, and how players in virtual worlds explore and unpack their surroundings, which mirrors many scientific practices in the real world. Chapter Five explores narrative structure in games, and their relation to power-gaming practices. Chapter Six concludes with a discussion of power-gamers as a neo-liberal workforce.

Author Keywords: game design, neo-liberalism, playbour, power-gamer, sociability, virtual-ethnography

This thesis is a critical response to Evgeny Morozov's article proclaiming the death of the cyberflâneur. Suspicious of the superficiality of his argument, I developed a practico-theoretical project to prove that the cyberflâneur is not dead but alive – or, if it were dead, to rescue it from its grave and bring it back to life. In the course of my response to Morozov, I develop a theoretical foundation that allows me to continue thinking about the concept and practice of the cyberflâneur in the context of the Internet. In doing so, I rely on Gilles Deleuze and Felix Guattari's "Treatise on Nomadology: The War Machine" (2011), in combination with a history of the tradition of wandering. We are living in a postmodern-posthuman era driven by the chaotic and confusing forces that are manifested through the Internet. As such, it is no longer enough to be concerned with opening the space where we live, move and think; we cannot retreat to nature, we can't escape society. However, I see potential in the Internet. The Internet, as a physical and material network, can be actualized as an apparatus of capture. It operates as a medium for accelerating or limiting speed, or as an apparatus for the control of the transmission of information. I develop the cyberflâneur as an aesthetic figure that reveals the Internet's potential. If these revelations happen to be transmitted, then everyday life can again become an object of dispute, rather than unmeditated habituation.

Author Keywords: Cyberflâneur, Everyday Life, Internet, Nomadology, Research-creation, Wandering