![]() The original constitution defined the organization's mandate as providing a forum for the exchange of ideas among ethnologists. In February 1974 a group of 120 anthropologists launched the Canadian Ethnology Society/société canadienne d'ethnologie (CESCE), because they felt there was room for an association of anthropologists separate from the Canadian Sociology and Anthropology Association (CSAA) which was dominated by sociologists. A cette fin, l'auteur présente ses observations personelles et décrit les rites médicaux pratiqués aujourd'hui par les Inupiats de Point Hope. La deuxième partie de ce travail, qui est la plus importante, se veut une " anthropologie de l'expérience ". Bien que ce groupe soit aujourd'hui chrétien, il a néanmoins préservé une bonne partie de son patrimoine symbolique préchrétien. La première partie traite de l'influence missionnaire sur les modes de vie Inupiats. / Cet article fait suite à une recherche de onze mois sur le terrain parmi les Esquimaux Inupiats de Point Hope en Alaska. The second and focal part of the paper, an essay in the "anthropology of experience," describes the author's observation of and participation in contemporary tribal healing as practiced in Point Hope. The Inupiat have been fully Christianized but have retained much of their pre-Christian symbolic culture. The effects of missionization on Inupiaq life are discussed in the first part of the paper. Even more representative is the mask he appropriates, in the mode of a dramatic and self-referential monologue, from Charles Baudelaire in “Baudelaire, 1845: Homo Duplex”:This paper is based on eleven months' fieldwork among the Inupiat Eskimos of Point Hope, Alaska. Here we find Mallarmé, or the creation of a poem from the origin of a painting by Hopper (Soir Bleu, 1914). A second layer, or movement, takes place in the very formation of the author. Everything expands, dragged by a drunken boat” “A new season approaches”). The movement of Arriagada Zubieta's poetry throughout Hotel Stitges (Buenos Aires Poetry, 2018) takes place on a truly experiential level, playing on great impulses, from the aesthetic point of view, over the dark art and trade of poetry (“the poet already lives forgotten / under a dead sky of doves” “He preferred, instead, to disappear in a dark chamber (.) / and grow winters old inside / on the margin of his time”) and, taking less comfortable, more prophetic leaps, approaching those of Rimbaud (“Beautiful are the centuries that will come. Man and beast become just one my pain are the words of that tale-tell other the verse, the restless corpse of a man I am never done with. Poet–personae, my double nature: the sword of the deer in the woods, primitive animals who train their fencing solitarily cornered. When I finally reach the words the unspeakable forms a picture full of threats for there is nothing more dangerous than being divided like two lovers who cannot fit together until they become the sculptural inertia of the flesh. I am a cupboardfull of bills my brain, a cemetery like an orgy of worms which drag themselves to smell the stench of the jar and the ink is a drunk man at the back of a tavern who multiplies his thirst with liquor. The page mangled by the lack of writing is the reflection of the holy water, the confessional booth where I am exempt from paying the dues of my conscience. Poeta-persona, mi doble naturaleza: una espada de los ciervos en el bosque, animales salvajes que se ejercitan en la esgrima solitariamente acorralados.īestia y hombre no forman más que un solo ser mi dolor son las sentencias de un otro delator el verso, un cadáver sin descanso de un muerto que nunca termino de matar.īlank sheet I am pissed with the entire city. Soy un aparador repleto de facturas mi cerebro, un cementerio como orgía de gusanos que se arrastran hasta oler el aroma corrompido del frasco y la tinta es un borracho en el fondo de una taberna que multiplica con el licor su sed.Ĭuando al fin alcanzo en algo las palabras lo indecible conforma un panorama lleno de amenazas porque nada hay más peligroso que estar dividido como dos amantes que no logran acomodarse hasta convertirse en la escultural inercia de la carne. ![]() La página carcomida por la falta de escritura es el reflejo del agua bendita, el confesionario donde me eximo de pagar mis obligaciones de conciencia. El papel está en blanco y yo estoy irritado contra la ciudad entera.
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