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Child fostering in West Africa: New perspectives on theory and practices
No full textItem does not contain fulltextIntroduction / Erdmute Alber, Jeannett Martin and Catrien Notermans -- A framework for the analysis of parent roles / Esther Goody -- Adoption, fosterage and marriage / Suzanne Lallemand -- The transfer of belonging: theories on child fostering in West Africa reviewed / Erdmute Alber -- Experiencing father's kin and mother's kin: kinship norms and practices from the perspective of foster children in northern Benin / Jeannett Martin -- Relating affiliation and descent: brothers' daughters as co-wives among the Bulsa in northern Ghana / Barbara Meier -- Children coming and going: fostering and lifetime mobility in east Cameroon / Catrien Notermans -- The promises of shared motherhood and the perils of detachment: a comparison of local and transnational child fostering in Cape Verde / Heike Drotbohm -- Disputes over transfers of belonging in the Gold coast in the 1870s: fosterage or debt pawning? / Cati Coe -- Child adoption and foster care in the context of legal pluralism: case studies from Ghana / Ulrike Wanitzek250 p
Prayers of cow dung: Women sculpturing fertile environments in rural Rajasthan (India)
Get PDFIn line with the special issue's focus on material religion and ritualistic objects, this article focuses on the multi-sensory prayers that certain groups of Hindu women craft in cowdung at the doorstep of their residences during Divali. This yearly ritual of kneading and praying with cow dung is known as the Govardhan puja (worship of Mount Govardhan). It is generally said to be the worship of the popular cowherd god Krishna and the natural environment he inhabits. Ethnographic research into the multiple meaningful layers of women's cow dung sculptures in the rural villages nearby Udaipur (Rajasthan) reveals the ritual is more than that. The cow dung sculptures not only reflect Krishna's body and sacred landscape but also the local environment women share with families, animals and (other) gods. Therefore, the article seeks to answer the following questions: how are women's cow dung sculptures built up as ritual objects, what different images are expressed in it, and what do these images reveal about women's intimate and gendered connections with their human and non-human environment? To answer these questions the article focuses on the iconography of women's sculptures, the performance of the ritual, and the doorstep as the location where women’s beautification of the cow dung takes place
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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