Our Mutual Friend

This chapter situates Our Mutual Friend at the intersection of nineteenth-century projects of culture: the antiquarian, pedagogical, and anthropological. Silas Wegg and the doll’s dressmaker, Jenny Wren, represent competing versions of the novel’s imaginative sources in popular culture, attached to successive historical stages. Wegg is a corrupt avatar of the Romantic ballad revival, with its commitments to antiquarian nationalism and a degenerationist cultural history. Jenny personifies a communal heritage of folktales, fairy tales, and nursery rhymes, absorbed organically in childhood, anticipating the anthropological claim on these materials, in the decades after Dickens’s death, as relics of a universal ‘savage mind’. Our Mutual Friend resists both programmes, the anthropological as well as the antiquarian, in counterpoint to its well-studied critique of the acquisition of culture through formal schooling.

„La filiation est directe“ Der Einfluss von Marcel Mauss auf das Werk von Claude Lévi-Strauss

The paper argues that Claude Lévi-Strauss’ thought was influenced by Marcel Mauss’ works in a much deeper way than has been remarked in the literature. Far from being restricted to Lévi-Strauss’ seminal 1949 work on The Elementary Structures of Kinship Mauss’ constitutive impact can already be found in Lévi-Strauss’ early ethnographic studies (starting in the mid-1930s). Moreover, it can be shown that decisive theses and arguments of Lévi-Strauss’ later thought – ranging from the anthropology of kinship to classification theory and the specifics of the “savage mind” – are clearly prefigured in these early texts. In the end, the arguments presented here do not only call into question the well-known and widespread portrayal of Lévi-Strauss as a solitary scientist and “born structuralist” but also show how the specific interpretation of Mauss by Lévi-Strauss directed and restricted the further reception of Mauss’ works.