Search

For low-income or precariously employed households in Australia, the re-allocation of risk over the past forty years has four crucial economic dimensions: the fraying of the social security net; changes in labour market dynamics; heightened uncertainty arising from income volatilities; and new hazards generated by the financialisation of daily life. Household financial capabilities are negatively influenced by the compounding impacts of each of these risks. Case examples from a BSL study illustrate each impact and their interactions. The dominant idea that individual capabilities are malleable (and thus can be optimised) whilst circumstances and norms are fixed is countered by an expanded view of Sen’s/Nussbaum’s capability approach (CA) that includes collective capabilities. Collective capabilities can change norms, and so, the concept provides a needed link between the political and macroeconomic movement of risk re-allocation and individual or household financial capabilities. The Australian Unemployed Workers’ Union is used as an example to show how collective action can challenge structural conditions, and expand or protect the capabilities of individuals.

• This exploratory data project investigates the potential of the DSS DOMINO dataset to support housing research and policy development. • The key difference is that DOMINO is mainly comprised of flow data which gives within year income volatility data rather than stock data which gives a single annual, or point-in-time income and labour force status data. • Demand for Commonwealth Rental Assistance (CRA) is far higher than commonly understood and there is a significant churn of individuals who receive CRA.

Este artigo argumenta que um produto visual também é material, no sentido de que objetos visuais (mesmo digitais) podem circular pelos mais variados espaços e, dependendo do contexto, podem adquirir ou expressar propriedades muito diferentes. Este artigo baseia-se em pesquisas conduzidas pelo autor em arquivos de filmes na Índia e no Reino Unido. O objetivo é mostrar que os filmes de não ficção (e a duração das filmagens) filmados por oficiais coloniais britânicos e visitantes da Índia na primeira metade do século XX formam “documentos” visuais que se baseiam em convenções fotográficas e filmes anteriores. Simultaneamente, o cinema de ficção indiano toma forma, com o trabalho pioneiro de DG Phalke. Os cinemas usam os mesmos materiais, possivelmente os mesmos tipos de câmera, porém sem intersectarem-se. Conclui-se que os filmes do período citado e posterior auxiliam entender as relações visuais entre o povo indiano como sujeito e os colonizadores britânicos.

The emotional and moral context of high cost, small loan lending has an important bearing on how low-income people engage in the mixed economy of credit, which is a term used to describe the different sectors involved in providing credit, from informal transactions between family and friends to formal fringe financial lenders and multinational banks. Decisions about accessing credit are constrained by more than material circumstances or access to information about the financial cost of such transactions. How individuals perceive different credit options is also influenced by emotions such as shame, guilt or anger. The emotional dimension is critical for understanding how, where and when individuals access credit. The policy field needs to give more attention to these neglected dimensions of decision-making, particularly since ‘financial literacy’ programs targeted at low-income households assume that lack of financial and budgetary knowledge is the key issue. Here, we argue, drawing on an empirical study, that a wider range of cultural and emotional factors needs to be taken into account in making sense of the social relations of money, credit and debt.

This article considers the "pace" of research, particularly with regard to the role played by film and photographs in setting or subverting this pace. Drawing on examples from published sources and my own visual archive, photographs taken during the course of fieldwork in India and England in the 1980s and 1990s, I consider ways in which photographs and other images can be revised and explored for new insights.

This paper surveys ethnographic film as it has been presented over the years on British television, particularly in the Disappearing World series. A detailed criticism leads to the conclusion that anthropologists should not place too much faith in the kind of films that are presented for the general public on television. The involvement of anthropologists in these productions has often amounted to a less-than-happy marriage.

Since the publication of Anthropology and Photography (Edwards 1992) almost two decades ago, there has been an explosion of anthropological interest in historical ethnographic photography and other...

This article draws upon some recent repatriation claims for Tasmanian human remains in British and European museums to examine debates concerning the authenticity of identity in the 21st century, and to reflect on the construction and representation of Indian identities in the colonial period. I discuss how authenticity can be seen as a process, used instrumentally, rather than a static quality, focusing on how authenticity is asserted, negotiated, performed, or rejected through social and political interaction. The negotiations of the Tasmanian Aboriginal groups for recognition of their status as authentic Aborigines provides a kind of prism or lens through which we can take a fresh view of the competing claims to authorship of India's filmic heritage. [Keywords: Authenticity, repatriation, film, human remains, colonialism, identity, archives, India, Tasmania](ProQuest: ... denotes non-US-ASCII text omitted.)Introduction-Contemporary Tasmanian AuthenticityIn the article that follows, I present two main case studies that at first glance would appear to have little to do with one another. Certainly, there are few, if any ethnographic linkages between a recent set of moderately high profile human remains repatriation requests made by Tasmanian people, and scholarly discussions of Indian cinema in the colonial period. Yet, my intention is to show that analysis of the former through the (by now) relatively familiar paradigm of what one might call "the authenticity debates" (see Theodossopoulos' introduction to this collection for an overview) provides a new-and anthropological-way to think about the latter. In particular, I wish to assert that some of the discussions of colonialism, nationalism, and visual representation in colonial India by post-colonial film scholars considering colonial period film texts may reflect a series of unconsidered assumptions about authenticity that only an anthropological approach attuned to the "authenticity debates" can identify. In turn, this analytical maneuver may reveal some implicit assumptions about "authenticity" within the anthropological debates.In March 2006, the Trustees of the British Museum agreed to repatriate two "ash bundles" (containing the cremated remains of Tasmanian Aboriginal people who died less than 1,000 years ago) to the Tasmanian Aboriginal Centre Inc. (TAC). The bundleswere acquired by George Augustus Robinson in about 1838 (Robinson having been appointed as conciliator of Aborigines in Tasmania in 1828). They were taken at a time when the Aboriginal population of Tasmania was suffering greatly from the impact of the European settlement, resulting in substantial population loss. The bundles entered the collection of the British Museum only later via the Royal College of Surgeons in 1882. (British Museum 2009)The TAC had, in fact, apparently made several earlier attempts to have the ash bundles repatriated, dating back to 1985, but these could not be taken up, according to the Museum's web announcement, until the UK law changed with the passing of the Human Tissue Act in 2005, thus granting the Trustees the right to de-accession such objects (British Museum 2009). However, a report on the bundles commissioned from an external expert for the Museum (Besterman 2005) pointed out that there were some issues to be addressed before any repatriation could take place: first, that the Tasmanian Aborigines of the 19th century were "heterogeneous, with beliefs, customs and practices that varied in detail between, and were distinctive to, each Aboriginal group in Tasmania" (Besterman 2005:7); second, that in the present there are (or were in 2005) three "Tasmanian Aboriginal Elders Councils, and eight recognized Tasmanian Aboriginal Communities" (Besterman 2005:9); and third, that it is assumed by some that the Tasmanian Aborigines had "died out" in the second half of the 19th century, not least thanks to the repressive measures taken by conciliator Robinson. …

Banks Marcus. La vie existait-elle avant la télévision ?. In: Journal des anthropologues, n°47-48, Printemps 1992. Anthropologie visuelle, sous la direction de Colette Piault. pp. 39-47.

This paper briefly charts the progress and findings of European scholars approaching the issues of caste and sect in the Jain community over the last two centuries. Other authors have already discussed the European interest in Jain textual and philosophical issues, and while I touch on these briefly, my main concern is to outline Jain social organization, with particular reference to Swetambar communities in the north.