LANGUAGE BOUNDARIES, PUBLISHING, AND POWER

Applied anthropologists in the English-speaking world tend to disregard publications in other languages; institutions emphasize English-language publishing and give less credence or value to work in other languages. Even applied anthropologists writing in non-English languages often privilege English sources. The invisibility of non-English applied anthropology diminishes the richness of our field, as we miss opportunities to gain insights from different academic, practice, and cultural traditions. This paper, based on a panel held at the 2021 SfAA Meetings, presents reflections on the challenges of language in the circulation of global knowledge for anthropological practice. We highlight the power relations embedded in language, as well as opportunities for applied anthropologists to promote communication and collaboration across boundaries.

Yilmaz Güney’s The Fields of Yuréghir and Arkadaş: From Despair to Hope

This article discusses two relatively unknown works of Yilmaz Güney in the English-speaking world: Boynu Bükük Öldüler (They Bowed their Heads in Shame),1 a semi-autobiographical novel, which in 1972 won the Orhan Kémel prize, and Arkadaş (The Friend), a film released in Turkey by Güney Film in 1974. More than ten years separate these two works. The Fields of Yuréghir was written during Güney’s imprisonment from 1960 to 1963, a period marked by the military coup of 27 May 1960, which lasted until 1961 and a series of coalition governments from 1961 to 1965 under the premiership of İsmet İnönü (1884-1973) of the Republican Party. Arkadaş was filmed in 1974 against the backdrop of the Turkish invasion of Northern Cyprus in August 1974, a time of great patriotic fervour under the charismatic and left-leaning premiership of Bülent Ecevit (1925-2006). Güney had by then experienced considerable success as a filmmaker and actor. Arkadaş is a product of this favourable constellation of circumstances, both political and personal, that marked this brief period that was abruptly ended by his imprisonment in September 1974. The article is divided into the following sections: a short biography of Yilmaz Güney; a summary of The Fields of Yuréghir and Arkadaş; a thematic analysis of the two works under the headings of political engagement, sexual mores, religion, and national identity; and a conclusion.

"Give 'Em a Few Bars of the Hymn of Hate": The German and English-Language Reception of Ernst Lissauer's "Haßgesang gegen England"

<p>Ernst Lissauer’s “Haßgesang gegen England” is an Anglophobic German poem, written in the early weeks of the First World War. This thesis examines the poem’s reception in the German and English-speaking worlds, the imitations it inspired, the opposition it provoked, and the enduring discourse it instigated. The study begins by outlining Lissauer’s biography, and places his “Haßgesang” within the context of contemporary German poetry of hate. It discusses the changing reception of the poem in the German-speaking world over time, and the many and varied German works it inspired. The “Haßgesang” is shown to have captured the Zeitgeist of Germany at the beginning of the First World War, but to have been later rejected by the German public and renounced by its author, while the war still raged. The poem also established a discourse on hatred and hatefulness as motivating factors in war, sparking debate on both sides. In the English-speaking world, the “Haßgesang” was viewed by some as a useful insight into the national psyche of the Germans, while for others it merely confirmed existing stereotypes of Germans as a hateful people. As an example of propaganda in reverse the poem can hardly be bettered, inspiring parodies, cartoons, soldiers’ slang and music hall numbers, almost all engineered to subvert the poem’s hateful message. The New Zealand reception provides a useful case study of the reception of the poem in the English-speaking world, linking reportage of overseas responses with new, locally produced ones. New Zealand emerges as a geographically distant but remarkably well-informed corner of the British Empire. Regardless of the poem’s literary quality, its role as a vehicle for propaganda, satire and irony singles it out as a powerful document of its time: one which cut across all strata of society from the ruling elite to the men in the trenches, and which became an easily recognised symbol around the globe.</p>

"Give 'Em a Few Bars of the Hymn of Hate": The German and English-Language Reception of Ernst Lissauer's "Haßgesang gegen England"

<p>Ernst Lissauer’s “Haßgesang gegen England” is an Anglophobic German poem, written in the early weeks of the First World War. This thesis examines the poem’s reception in the German and English-speaking worlds, the imitations it inspired, the opposition it provoked, and the enduring discourse it instigated. The study begins by outlining Lissauer’s biography, and places his “Haßgesang” within the context of contemporary German poetry of hate. It discusses the changing reception of the poem in the German-speaking world over time, and the many and varied German works it inspired. The “Haßgesang” is shown to have captured the Zeitgeist of Germany at the beginning of the First World War, but to have been later rejected by the German public and renounced by its author, while the war still raged. The poem also established a discourse on hatred and hatefulness as motivating factors in war, sparking debate on both sides. In the English-speaking world, the “Haßgesang” was viewed by some as a useful insight into the national psyche of the Germans, while for others it merely confirmed existing stereotypes of Germans as a hateful people. As an example of propaganda in reverse the poem can hardly be bettered, inspiring parodies, cartoons, soldiers’ slang and music hall numbers, almost all engineered to subvert the poem’s hateful message. The New Zealand reception provides a useful case study of the reception of the poem in the English-speaking world, linking reportage of overseas responses with new, locally produced ones. New Zealand emerges as a geographically distant but remarkably well-informed corner of the British Empire. Regardless of the poem’s literary quality, its role as a vehicle for propaganda, satire and irony singles it out as a powerful document of its time: one which cut across all strata of society from the ruling elite to the men in the trenches, and which became an easily recognised symbol around the globe.</p>

Walter Benjamin

Cultural theorist and political philosopher Walter Benjamin (b. 1892–d. 1940) reflected on the thought processes and imaginative life of the child both in dedicated writings and, tangentially, in his major works. As a young man Benjamin wrote essays critical of high school education, and he was a supporter of the German Youth Movement until he became disillusioned with its nationalist tone. Subsequently Benjamin’s engagement shifted toward early childhood and took many forms: he collected antique children’s books; recorded the sayings and opinions of his infant son; made radio broadcasts for children; composed a memoir of his own childhood years in Berlin; and devoted a number of prose fragments to aspects of drama for young people, play, toys, and the numinous qualities of childhood reading. Influenced by the German Romantic view of the purity of a child’s vision that removes the subject-object barrier, Benjamin suggests in these works that in the course of developing an intense relationship with its immediate locality the child simultaneously absorbs and animates the innate qualities of the natural or manufactured object. Benjamin also regarded language play, witnessed in the utterances of his young son and the magical resonance of his own childhood misunderstandings, as essential to the formation of memory images and the imagination. He does not, however, present an idealized vision of childhood, since children are engaged in a cycle of destruction as well as renewal, and play with the detritus of daily life is essential to the growth of the child’s autonomy—as indeed are acts of mimesis and an immersion in the imaginative world of the book and its illustration. Alongside these observations on the child’s intellectual and imaginative development, Benjamin assumes the role of mentor in broadcasts for children that seek to encourage a historical and political consciousness in the young. He returns to his student interest in education in essays on the nature of colonial and proletarian pedagogy, and in a manifesto on proletarian children’s theater. Initially, little critical attention was paid to Benjamin’s writings on childhood in the English-speaking world, partly because of their gradual appearance in English translation. It is only in recent decades that the significance of Benjamin’s illuminating reflections on childhood, play, and education has become apparent, and that the autobiographical Berlin Childhood around 1900) has gained recognition as an expression in serial “thought-images” of the speculation on memory and materialist historiography that is essential to his philosophy.

Dethroning Dante: Skopostheorie in Action

<p>Dante’s Commedia has been translated into English more than one hundred times. As a result, there are plenty of opposing opinions on how best to translate Dante’s masterwork. One can mimic Dante’s rhyme scheme (terza rima), utilize a more conventional English metre or rhyme scheme, or resort to a prose translation that abandons any attempt to reproduce Dante’s poetics. It is the purpose of this study to demonstrate that all of these are, in the right context, appropriate translation strategies; no platonic ideal translation strategy exists. To provide a more tolerant approach to translations of Dante’s poetry, I employ a translation theory called Skopostheorie (skopos theory). This theory argues that each translation has its own unique purpose (skopos); there are any number of (valid) strategies available to the translator. This theory is often seen as extreme, providing the translator with too much freedom to manipulate the text. Accordingly, this thesis first makes a case for the application of Skopostheorie in literary translation, attempting to defend it against its critics. Second, this essay exhibits how the theory may be applied in practice. To demonstrate its application, I look at three very different English translations of the first canto of Dante’s Inferno published during the 1990s. These translations are by Seamus Heaney (1993), Steve Ellis (1994), and Robert M. Durling (1996). In doing so, I hope to identify the various approaches of these translators, to demonstrate the breadth of options available to translators of Dante’s capolavoro, and to add to the discourse on the reception of Dante in the English-speaking world.</p>

Dethroning Dante: Skopostheorie in Action

<p>Dante’s Commedia has been translated into English more than one hundred times. As a result, there are plenty of opposing opinions on how best to translate Dante’s masterwork. One can mimic Dante’s rhyme scheme (terza rima), utilize a more conventional English metre or rhyme scheme, or resort to a prose translation that abandons any attempt to reproduce Dante’s poetics. It is the purpose of this study to demonstrate that all of these are, in the right context, appropriate translation strategies; no platonic ideal translation strategy exists. To provide a more tolerant approach to translations of Dante’s poetry, I employ a translation theory called Skopostheorie (skopos theory). This theory argues that each translation has its own unique purpose (skopos); there are any number of (valid) strategies available to the translator. This theory is often seen as extreme, providing the translator with too much freedom to manipulate the text. Accordingly, this thesis first makes a case for the application of Skopostheorie in literary translation, attempting to defend it against its critics. Second, this essay exhibits how the theory may be applied in practice. To demonstrate its application, I look at three very different English translations of the first canto of Dante’s Inferno published during the 1990s. These translations are by Seamus Heaney (1993), Steve Ellis (1994), and Robert M. Durling (1996). In doing so, I hope to identify the various approaches of these translators, to demonstrate the breadth of options available to translators of Dante’s capolavoro, and to add to the discourse on the reception of Dante in the English-speaking world.</p>

How to Improve the International Communication of Sanxingdui Culture: A Contrastive Analysis of the Two Videos on You Tube – With the Inspiration from an Intercultural Anti-Tobacco Advertisement

Objectives: Anti-tobacco has been an international consensus for a very long time, and even all the countries in the world attempt to produce the thrilling advertisements to warn the smokers to quit smoking, but the stereotype is reducing its deterrent power now. So, a relaxing, intercultural anti-tobacco commercial appears to be effective, which inspires the author to think about the cross-cultural communication of a certain item. With Sanxingdui, the hottest cultural event in China, being a case, the article attempts to explore how to improve the international communication of a certain culture item. Methods: With data collection and comparison to demonstrate the actual effectiveness of Sanxingdui culture, the article proceeds from the “extension of man” theory in intercultural identity to propose several suggestions on how to promote its international communication from the perspective of “extension of culture” adapted from “extension of man”. Results: In the English-speaking world, Sanxingdui is faced with the insufficient quantity and poor quality of the propaganda products. Conclusions: Sanxingdui culture should take the intercultural perspective to redesign its overseas propaganda for the intercultural identity, as inspired from the intercultural anti-smoking advertisement.

Degrowth, political acceptability and the Green New Deal

Endless economic growth on a finite planet is impossible. This is the premise behind the degrowth movement. Despite this sound rationale, the degrowth movement has struggled to gain political acceptability. We have sought to understand this limited uptake of degrowth discourse in the English-speaking world by interviewing Canadian activists. Activists have a proximity to the political realm – both with its barriers and openings – that scholars working primarily in academic institutions sometimes lack. Our interviews reveal that class interests – particularly those of fossil fuel companies – are a substantial barrier to realizing degrowth goals. Interviewees highlighted the importance of centring class-conscious environmentalism, ‘anti-purity’ politics, and decolonization as essential parts of a degrowth agenda capable of overcoming these class interests. We conclude by unpacking how the Green New Deal – a discourse and movement that gained considerable traction after we completed our interviews – addresses the obstacles shared by our interviewees, thus making it a promising ‘non-reformist reform’ for the degrowth movement to pursue.