Global scarcity and modern technology: Crisis or opportunity?

William Ophuls. Ecology and the Politics of Scarcity. San Francisco: W. H. Freeman and Company, 1977. xi + 303 pp. Figures, tables, references, and index. $6.95 paper.

L. S. Stavrianos. The Promise of the Coming Dark Age. San Francisco: W. H. Freeman and Company, 1976. x +211 pp. Footnotes and index. $4.95 pape     

III 'Gender' is not enough: the need for a feminist consciousness

In the final commentary, Cynthia Enloe thinks again about Gillian Youngs' question: why do many IR academics find it so difficult to take feminist analysis seriously? She argues there are two fears: the first, for men, concerns how their own relationships with masculinity are affecting what they see as a ‘serious’ topic of investigation; the second is the fear of appearing feminized by colleagues making a judgement on the topic's seriousness. Cynthia Enloe argues that ‘gender’ alone is insufficient for transforming IR into a more reliable and useful discipline. What is needed is a feminist consciousness informing work on gender.     

Local recipes or distant commodities? Lead isotope and chemical compositional analysis of glaze paints from the Salinas pueblos,New Mexico

For nearly four hundred years, Pueblo potters in the Rio Grande Valley of New Mexico produced technologically innovative glaze-decorated bowls and exchanged them widely among different villages. While potential sources of lead ores used to make glaze paints are found throughout the Rio Grande Valley region, researchers have only recently begun to identify which ore sources potters exploited and to understand the social and economic factors underlying patterns of ore resource use. In this paper we use stable lead isotope and electron microprobe analysis of glaze paints on Rio Grande Glaze Ware made at two Salinas pueblos to identify ore sources and glaze recipes used by their potters. Despite some isotopic overlap of ore sources, the lead isotope data point to regular exploitation of ores from the Socorro area of the southern Rio Grande. Salinas potters apparently used other sources as well, and likely mixed ores from different sources. We also identify four local glaze recipes that appear to incorporate multiple ore sources, suggesting that Salinas potters obtained raw ores rather than finished glaze paints.     

A hobby no more: Anxieties of engaged anthropology: at the heart of empire (Respond to this article at http://www.therai.org.uk/at/debate)

Previous calls for an engaged anthropology were met by scholars who rose to the challenge successfully. But the current conservative political climate witnesses a regression of ‘academic standards’ to the traditional publish‐or‐perish model in many institutions, which themselves claim as mission not ivory‐tower academics but contribution to world affairs. Anthropologists may have to place themselves at the forefront of institutional reform if the ‘engaged anthropology’ moment is to be more than a passing fashion.     

In Search of an Invisible Culture in David Plante’s American Ghosts and Robert Cormier’s Fade

David Plante’s American Ghosts (2005) and Robert Cormier’s Fade (1988), autobiographical narratives about growing up in southern New England in French Catholic neighborhoods called Little Canadas, both employ the trope of invisibility to convey the ethnic community’s lack of presence, agency, or permanence within an englobing American culture that progressively erodes the foundations of its cultural otherness. Both texts hinge upon cultural erasure. In Plante’s memoir, in which he seeks to gain access to his cultural past, his childhood self is haunted by the ghosts of his Indian forebears and his adult self, by the ghosts of his parish. These supernatural beings who shuttle between absence and presence signal the loss of cultural memory and identity that assimilation engenders. Cormier’s novel chronicles the effects of invisibility on three “faders” representing first-, second-, and third-generation French Canadians in New England. A metaphor for the progressive loss of ancestral heritage in the adopted land, Fade offers a portrait of the gradual disintegration of Frenchtown from its heyday in the 1930s to its dissolution in the 1960s.