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By Renato Rosaldo

Exposing the inadequacies of outdated conceptions of static cultures and indifferent observers, the publication argues as an alternative for social technology to recognize and have fun variety, narrative, emotion, and subjectivity.

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Example text

Victor Hugo's poem is sufficiently well known; the obsessive and lugubrious eye, the living eye, the eye of the hideous nightmare experienced just before his death:4 the criminal "dreams that he has just struck down a man in a dark wood. . Human blood has been spilled and, following an expression that presents a ferocious image to the mind's eye, he made an oak sweat. 5 In fact, it is not a man, but a tree trunk. . bleeding . . who seeks t o defend himself. . under the murderous weapon. The hands of the victim are raised in supplication, but in vain.

Worn-out as most of these images may be, there is none the less one which remains moving, because of its brutal and implacable concision, a word quite precisely "thrown together'' [bdclc], with that very haste which characterises disasters - I mean the word dibdclc. Employed regarding the war of 1 870 by Zola, in a work which bears it as its title, and popularised above all to designate collapses in monetary value and financial crashes, this expression is still today very powerful, all the more powerful, indeed, since, given present circumstances, it could pass as prophetic.

On the other hand, its vaguely phallic appearance has not, perhaps, been without influence in determining the choice; the phallus, in fact, plays a considerable role in the prophylaxis of the evil eye (Otto Jahn, Bose Blick) . But this is another question, far too extensive to expound upon here. 4. The Eye at the Academie Franraise. - The Academie, presided over by M. , an eye for an eye, tape a l'a:il, flashy, showy, etc. 'a:il, to ogle, to wink. ica FACTORY CHIMNEY. - When I review my own memories, it seems that for our generation, out of all the world's various objects glimpsed in early childhood, the most fear-inspiring architectural form was by no means the church, however monstrous, but rather large factory chimneys, true channels of communication between the ominously dull, threatening sky and the muddy, stinking earth surrounding the textile and dye factories .

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