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CarthageMusée national du Bardo: sur les traces d'Aphrodite, Isis, Cybèle et les autres...<a href="https://www.lequotidien.com.tn/fr/culture/6961-musee-national-du-bardo-sur-les-traces-d-aphrodite-isis-cybele-et-les-autres" rel="nofollow noopener noreferrer" translate="no" target="_blank">https://www.lequotidien.com.tn/fr/culture/6961-musee-national-du-bardo-sur-les-traces-d-aphrodite-isis-cybele-et-les-autres</a>> Sous les voûtes chargées d’histoire, où résonnent les échos des <a href="https://turath.tn/tags/civilisations" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#civilisations</a> passées, le <a href="https://turath.tn/tags/Mus%C3%A9e" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Musée</a> National du <a href="https://turath.tn/tags/Bardo" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Bardo</a> a ouvert ses portes, le temps d’une soirée, à un <a href="https://turath.tn/tags/%C3%A9v%C3%A9nement" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#événement</a> d’exception consacré aux figures féminines <a href="https://turath.tn/tags/mythologiques" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#mythologiques</a>. Préparée à l’occasion de la célébration de la Journée internationale des droits des femmes, l’exposition artistique <a href="https://turath.tn/tags/Culture" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Culture</a> <a href="https://turath.tn/tags/Tunisie" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Tunisie</a> <a href="https://turath.tn/tags/Art" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Art</a> <a href="https://turath.tn/tags/Exposition" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Exposition</a>

Radical AnthropologySocial anthropologist <a href="https://c.im/tags/ChrisKnight" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#ChrisKnight</a> uses another source of indigenous voice – <a href="https://c.im/tags/Amerindian" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Amerindian</a> mythology – to interrogate Graeber and Wengrow’s oscillatory model, addressing their key question about ‘how did we get stuck?’ A structuralist binary lies at the heart of these mythic discourses, beating to a lunar cyclical rhythm. Although Graeber + Wengrow pay little attention to indigenous myths, he discerns ‘an uncanny fit’ between their ‘getting stuck’ thesis and a worldwide motif central to myths -- a preoccupation with loss of periodicity and movement between worlds. This is taken to a high degree of elaboration in the <a href="https://c.im/tags/Tucuna" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Tucuna</a> story ‘The hunter Monmanéki and his wives’ which opens 'The Origin of Table Manners', Vol 3, Lévi-Strauss’s 'Mythologiques'. The animal wives move through an algebraic sequence of structural oppositions, more and more handicapped by the increasingly absurd demands of patrilocal marriage. The last wife literally flies apart, split into 2 halves. This story's Amazonian voice explains how we ‘got stuck’.<a href="https://c.im/tags/anthropology" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#anthropology</a> <a href="https://c.im/tags/Amazonia" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Amazonia</a> <a href="https://c.im/tags/myth" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#myth</a> <a href="https://c.im/tags/structuralism" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#structuralism</a> <a href="https://c.im/tags/Mythologiques" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Mythologiques</a> <a href="https://c.im/tags/LeviStrauss" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#LeviStrauss</a><a href="https://liverpooluniversitypress.co.uk/doi/10.3828/hgr.2022.6" rel="nofollow noopener noreferrer" translate="no" target="_blank">https://liverpooluniversitypress.co.uk/doi/10.3828/hgr.2022.6</a>

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