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The essays during this publication discover the serious probabilities which were opened via Veena Das's paintings. setting out from her writing on soreness as a choice for acknowledgment, numerous essays discover how social sciences render soreness, affliction, and the claims of the opposite as a part of an ethics of accountability. They look for disciplinary assets to contest the implicit department among these whose discomfort gets recognition and people whose discomfort is noticeable as out of sync with the days and for this reason written out of the historic record.

Another subject is the co-constitution of the development and the standard, specially within the context of violence. Das's groundbreaking formula of the typical presents a body for figuring out how either violence and therapeutic may well develop out of it. Drawing on notions of lifestyles and voice and the fight to jot down one's personal narrative, the participants supply wealthy ethnographies of what it really is to inhabit a devastated world.

Ethics as a sort of attentiveness to the opposite, in particular within the context of poverty, deprivation, and the corrosion of way of life, appears to be like in numerous of the essays. They absorb the vintage issues of kinship and legal responsibility yet provide them solely new meaning.

Finally, anthropology's affinities with the literary are mirrored in a last set of essays that express how different types of understanding in artwork and in anthropology are similar via paintings with painters, functionality artists, and writers.

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Extra info for Wording the World: Veena Das and Scenes of Inheritance (Forms of Living)

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I feel that the chapters in this volume have made an amazing journey into the major impulses of Das’s work by simultaneously reflecting on her work and on their own work as joined by the desire to keep anthropology as an open-ended endeavor. It is one in which we are privileged to fi nd our own voices in company with those of our interlocutors, respondents, and friends in the field and in the texts we inherit. Like a sutradhar (one who holds the threads of the narration) in Sanskrit drama who invites the audience to enjoy the rasa (aesthetic experience) of the enactment, I now invite the reader to wander through the following chapters and to turn to the concluding interview with Das as well as her concluding chapter as and when she is pleased to do so.

Brandel understands Cavell’s statement as making a claim not on behalf of fully constituted disciplines (philosophy and anthropology) but as constellations that grow out of commensality— contingent, but precious for reasons of that very contingency. The Affinity of Art and Anthropology Das’s writings on art are less known and are offered as solitary meditations, for she does not address disciplinary formations such as art history or visual anthropology (see Das 2009, 2010c, 2010e). Yet Brandel captures something important in the connections he Anthropological Knowing as a Form of Life 19 makes between her understanding of anthropological knowledge and forms of knowing in art.

It requires, at most, an epistemological training but not a transformation of the self (Rabinow 2003: 4–11). It also seems to entail, for the same reason, an eschewal of the question of what difference, if any, suffering actually brings into the world. Thus the power of terms like shahīd, “martyr,” to interfere with our historical narratives, and thus also the maneuvers we typically deploy to skirt such interferences (holding these terms back, putting them in quotation marks, translating them through a rhetoric of humiliation, brainwashing, or false consciousness): a matter of keeping, arguably, a peculiar ethics of pain from bending, as it were, too much the homogeneous, amoral time of modern history.

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