Norwegian adventurer Johan Adrian Jacobsen collected more than two thousand Yup'ik objects during his travels in Alaska in 1882 and 1883. Now housed in the Berlin Ethnological Museum, the Jacobsen collection remains one of the earliest and largest from Alaska's Yukon-Kuskokwim Delta. When Ann Fienup-Riordan first saw the collection being unpacked in 1994, she was 'stunned to find this extraordinary Yup'ik collection, with accession records still handwritten in old German script and almost completely unpublished'. In 1997, Fienup-Riordan and Yup'ik translator Marie Meade returned to Berlin with a delegation of Yup'ik elders to study Jacobsen's collection. "Yup'ik Elders at the Ethnologisches Museum Berlin" recounts fourteen days during which the elders examined objects from the collection and described how they were made and used. Their descriptions, based on oral history and firsthand experience with similar objects, are imparted through songs, stories, and personal narratives. Woven together with Jacobsen's writings, technical descriptions, and accession information, the narrative presents a vast array of knowledge. For example, Jacobsen had observed that large grass mats were woven for use as sleeping mats in houses and were often taken on journeys; a Yup'ik elder demonstrates how the grass mat would be folded and fitted into a kayak. Another elder describes a dance in which fox masks similar to those in the collection were used. Yet another elder, inspired by a carving of a paalraayak, launches into a story about the creature, which was sometimes encountered in the mountains near her home. An introductory essay describes Jacobsen's life and trip to Alaska and the region as it was then and as it is today. Informal snapshots show the elders interacting with the objects and miming their use, while Barry McWayne's large color photographs make possible the 'visual repatriation' of this extraordinary collection. "Yup'ik Elders at the Ethnologisches Museum Berlin" also includes extensive notes summarizing accession information, a glossary of Yup'ik object names, and a detailed index. This is the first time a major Arctic collection has been presented from the Natives' point of view, an example of 'reverse fieldwork' that can enrich understanding of Native American collections the world over.
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评分这本书的叙事节奏掌握得极其精妙,不像许多学术著作那样枯燥乏味,它更像是一位资深人类学家娓娓道来的口述史诗。作者似乎非常懂得如何平衡学术的严谨性与文学的感染力,在严肃的考据背后,始终贯穿着对被记录者个体生命体验的深切关怀。叙述的逻辑层次分明,从宏大的文化背景过渡到微观的个人回忆,过渡自然流畅,让人欲罢不能。我发现自己常常在阅读某个段落时停下来,陷入对彼时彼地生活的沉思,这种能引发深度共鸣的文字力量是令人赞叹的。
评分作为一名对文化人类学抱有浓厚兴趣的业余爱好者,我最欣赏这本书在处理文化复杂性时的细腻手法。它没有采取简单化的符号解读,而是深入挖掘了尤皮克文化中那些看似矛盾却又和谐共存的元素,展现出一种动态的发展和适应性。那种对边缘知识的尊重和保护的态度,通过文字得以淋漓尽致地体现,让人感受到一种跨越时空的对话感。它不仅仅是对过去的记录,更像是一份对未来文化保育的庄严承诺,体现了极高的伦理标准。
评分初翻阅时,那些精美的插图和照片就占据了我大部分的注意力。不得不说,摄影师的功力非凡,他们捕捉到的瞬间充满了力量感和故事性。那些老人的面部特写,每一道皱纹似乎都在无声地诉说着他们经历的风霜与智慧的传承,眼神里的坚定与慈爱令人动容。图片清晰度极高,细节捕捉入微,让我仿佛能想象出当时现场的光线和环境。不仅仅是人物肖像,那些对传统服饰、工具和生活场景的记录,都展现出极高的民族学研究价值,为研究者提供了宝贵的视觉档案。
评分这本书的封面设计简直是一场视觉盛宴,那种深沉的蓝与古朴的棕色调,立刻将我拉入了一种庄严而神秘的氛围之中。纸张的质感也十分考究,拿在手里沉甸甸的,仿佛触摸到了历史的厚度。我尤其欣赏排版上的匠心独运,文字的间距和留白处理得恰到好处,即便是厚重的历史信息,阅读起来也毫不费力,反而有一种沉浸式的体验感。那种精心挑选的字体,与主题的地域文化气息完美融合,没有丝毫的违和感,反而增添了一种手工制作的温度。
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