The Familiar Strange · Ep # 90: The First Year Special: This Month on TFS Welcome back to the Familiar Strange. We’re back with a special panel episode with familiar stranger Alex sitting down with some of the First year PhD students doing Anthropology at ANU. Mamta, Maddy and Andy were kind enough to take … Continue reading Ep # 90: The First Year Special: This Month on TFS.
Religious commodification is an arena that has gained increasing interest among social scientists, especially where religious symbols and artefacts are being appropriated by both adherents and non-adherents in an attempt to capitalize on growing worldwide markets. In what Sophia Rose Arjana calls the “mystical marketplace,” these objects, many of which are distinctly associated with orientalist versions of Hinduism, Buddhism, and Islam, are stripped of their original contexts and then reimagined as representatives of a kind of timeless, exotic, spirituality to be consumed by economically dominant Westerners. But this short thought-piece is about those consecrated objects whose marketing and sale is what made them sacred in the first place (like the Tibetan Singing Bowls but drawn from Harry Potter and Star Wars rather than the Tripitaka and the Mahayana Sutras). This is about a growing link between religion and fandom and the “ritual objects” that the latter now produces.
The Familiar Strange · Ep # 89 Growing Pains in the Valley: Dr Eric Hirsch on Growth in the Colca Valley Welcome back to the Familiar Strange! This week Familiar Stranger Alex sits down with Dr Eric Hirsch. Dr Eric Hirch is currently an assistant professor at Franklin & Marshall College in the department of … Continue reading Ep # 89 Growing Pains in the Valley: Dr Eric Hirsch on Growth in the Colca Valley
A social economy approach therefore asks why people are engaged in specific enterprises. Are they simply out to make the most money they can? Many people do. Or do they see themselves as providing an essential service their community is missing? Are they providing employment for otherwise disadvantaged groups? Do they simply take pride in producing artistic or high-quality goods and the only money they need is enough to cover their living expenses?