...within Arizona, which recognizes Mountain Standard Time year-round, the case gets more confusing for anyone traveling through the Hopi and Navajo nations. Both nations are in the same area–in fact, the Navajo nation completely surrounds Hopi territory, and both nations have enclaves within the other.
This arrangement might not have much of an impact time-wise, except that the Navajo nation uses daylight savings time, while the Hopi nation, along with the rest of Arizona, does not. Essentially, it'd be possible to drive through each outlying city and change time zones five times, all within two hours.
it looks as if kids don't learn language in the way predicted by a universal grammar; rather, they start with small pockets of reliable patterns in the language they hear, such as Where's the X?, I wanna X, More X, It's a X, I'm X-ing it, Put X here, Mommy's X-ing it, Let's X it, Throw X, X gone, I X-ed it, Sit on the X, Open X, X here, There's a X, X broken … and gradually build their grammar on these patterns, from the "bottom up".
...Importantly, these same basic processes of intention-reading are necessary not only for language, but also for discerning what someone is communicating when they simply poke their index finger out in a particular direction for the purpose of communication. To understand why someone is pointing to, for example, a bicycle leaning against a tree, one must share some background experience and knowledge with that person to determine why on earth they would be directing one's attention to this particular situation at this particular moment.
The idea is that something (we don't precisely know what) in our evolutionary history placed pressure on us (but not chimpanzees) to evolve the kind of mental machinery that allows us to read communicative intentions. One of the consequences of this was that it provided a key mental capacity for language. But it also put in place the potential for us to take part in ever more complex and large-scale cooperative ventures that form the fabric of our different cultures.
What lessons can other countries learn from the debate in the Netherlands?
These arguments apply to countries where the national language has limited global presence but also in countries where the primary language is Spanish, Mandarin, French, German, and even English. The fact that half of the UK universities allow foreign students to use dictionaries during exams but not local students is an illustration of how absurd we are in addressing language issues in higher education.
A Message from Executive Director, Dr. Edward Liebow
By Marilyn Johnson, http://www.marilynjohnson.net/new__i_lives_in_ruins__i__123545.htm
Chapter 1 Field School: Context is everything
Field school is a rite of passage. If you are studying archaeology, or even thinking about it, you need to apprentice yourself to an excavation specifically set up to help train field-workers. This usually takes place in a desert or jungle, a hot and often buggy place at the hottest and buggiest time of year. A century ago, field school meant signing on to a dig under the supervision of an archaeologist, who would teach you the fine art of excavating while hired locals did the hard labor. Now the locals work as translators, drivers, guides, or cooks, and the students do the heavy lifting, moving rocks and hauling dirt and slag—for instance, in a foul pit in Jordan that, back in the tenth century b.c., was a copper smelt. "I can't prove it," the lead archaeologist at that site told National Geographic, "but I think that the only people who are going to be working in this rather miserable environment are either slaves . . or undergrads." Students not only work without the prod of a whip, they pay for the privilege. Field schools got that school in their name by charging tuition, quite a lot of it, usually thousands of dollars. Where would archaeology be without these armies of toiling grads and undergrads? Are they the base of a pyramid scheme that keeps excavations going with their labor and fees?
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eBook at amazon.com, http://www.amazon.com/Lives-Ruins-Archaeologists-Seductive-Rubble-ebook/dp/B00IHZNRQE/ref=sr_1_1?s=digital-text&ie
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See the huala (trance mediums/ shamans) among the Mangghuer people of the Sanchuan Region, on the northeast Tibetan Plateau. The movie is intended for a general, rather than an academic, audience, so please feel free to share the link with your students, neighbors, grandmas, etc. http://www.youtube.com/watch?v=QUjLwtix2_U
The Gods Incarnate - The Huala of China's Sanchuan Region
In today's Academic Minute, the University of Toronto's Mary-Ann Pouls Wegner describes some recent finds from an archaeological excavation in Abydos, Egypt. Wegner is assistant professor of Egyptian archaeology in the Department of Near and Middle Eastern Civilizations at Toronto. She also serves at Project Director for the North Abydos Votive Zone Project. Find out more about her here. A transcript of this podcast can be found here.
While visiting a high school choir class, the anthropologist in me found ways to introduce vocal art to illustrate some of the variety of music expression. Surely there are more or better references to sample, but these came first to mind:
Humans feel motivated to create and consume many artistic forms. Why don't other animals produce or consume such things as dance, music, visual art, verbal arts of story and lyric and declamation?
Recognizing patterns and relationships, then applying ones known by experience to new material is something that characterizes human minds and hearts. In abstract terms this search for meaning is an extension from the core motivation in spoken (and thus also written) language. For some reason a given musical phrase, movement sequence, or choice of words stands out in a person's mind. It "means" something or resonates with a feeling or concept in one's own mind, as yet perhaps not articulated into a definite form. The artist answers a specific itch by producing sequences of pattern and meaning. The audience may dwell on a novel piece of work to grasp it, or in dim recognition of knowing it from another place or medium. Alternatively the audience may be actively seeking something to touch the itch they feel, and therefore browse rapidly through the works until they find something partly or fully connected to the meaning they are seeking. In the case of visual arts, the elements of composition, light, texture, narrative (intertexuality) or context could spark the feeling of recognition and personal meaning attached to the work. In other words the meaning can be perceived indirectly, incidentally and thus unintentionally.
Discussion of interaction between colonists in North America and the native peoples, as written in Fur and Fortune: in Part III (after the French and Indian wars of 1750s-60s) the narrator (of the audio book version) refers to "The Indians." And yet this catch-all phrase sweeps together groups big and small, ones friendly and hostile to "The Europeans" or to "The English Speakers." Elsewhere there are some smaller categories such as Five Nations or Algonkian tribes. But it would probably be more true to experience of those on the ground at the time to refer to themselves not as categories of some abstract Nation (which is the label we organize citizens by today) but according to their location, local leader or some other term of limited scale. For the author perhaps the analytical goal of grouping anonymous souls into competing interests is useful, but probably this corresponds little to the local experience that motivated and guided the people being so labeled. Forever there is a tension between analytical abstraction and anonymity on the one hand and names and faces of individual lives and significance on the other hand.
[reference, Fur, Fortune, and Empire: The Epic History of the Fur Trade in America]
