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Symbols that Stand for Themselves
This important new work by Roy Wagner is about the autonomy of symbols and their role in creating culture. Its argument, anticipated in the author's previous book, The Invention of Culture, is at once symbolic, philosophical, and evolutionary: meaning is a form of perception to which human beings are physically and mentally adapted. Using examples from his many years of research among the Daribi people of New Guinea as well as from Western culture, Wagner approaches the question of the creation of meaning by examining the nonreferential qualities of symbols—such as their aesthetic and formal properties—that enable symbols to stand for themselves.
On the Emic Gesture
Roy Wagner’s work deals with two fundamental issues in anthropology: how to describe difference, and where to place it in anthropological discourse. His discussion and displacement of anthropological concepts such as ‘group’ and ‘culture’ in the 1970s and 1980s have arguably encouraged a deconstructive undertaking in the discipline. Yet Wagner’s work, although part of the radicalizing move of the 1970s and 1980s in anthropology, was until some years ago not a central reference for anthropological theory. The question Dulley asks throughout her engagement with Wagner’s main essays is whether it is possible for the emic gesture to account for difference within difference without ...
The Invention of Culture
“This new edition of one of the masterworks of twentieth-century anthropology is more than welcome…enduringly significant insights.”—Marilyn Strathern, emerita, University of Cambridge In the field of anthropology, few books manage to maintain both historical value and contemporary relevance. Roy Wagner's The Invention of Culture, originally published in 1975, is one that does. Wagner breaks new ground by arguing that culture arises from the dialectic between the individual and the social world. Rooting his analysis in the relationships between invention and convention, innovation and control, and meaning and context, he builds a theory that insists on the importance of creativity, placing people-as-inventors at the heart of the process that creates culture. In an elegant twist, he also shows that this very process ultimately produces the discipline of anthropology itself. Tim Ingold’s foreword to the new edition captures the exhilaration of Wagner’s book while showing how the reader can journey through it and arrive safely—though transformed—on the other side.
An Anthropology of the Subject
"Roy Wagner is a one-of-a-kind anthropologist whose books provide intense intellectual stimulation. His way of connecting the world of New Guinea to the world of anthropology is unique and, well, mind-blowing. . . . He writes books that you actually want to and will read more than once."--Steven Feld, author of Sound and Sentiment "Wagner asks, daringly, what it would be like to imagine one of the most significant of human activities, the activity of description or representation, as a self-scaling phenomenon. . . . One begins to glimpse a genuine 'alternative anthropology.'"--Marilyn Strathern, author of The Gender of the Gift
Coyote Anthropology
Coyote Anthropology shatters anthropology’s vaunted theories of practice and offers a radical and comprehensive alternative for the new century. Building on his seminal contributions to symbolic analysis, Roy Wagner repositions anthropology at the heart of the creation of meaning—in terms of what anthropology perceives, how it goes about representing its subjects, and how it understands and legitimizes itself. Of particular concern is that meaning is comprehended and created through a complex and continually unfolding process predicated on what is not there—the unspoken, the unheard, the unknown—as much as on what is there. Such powerful absences, described by Wagner as “anti-twins...
The Logic of Invention
In this long-awaited sequel to The Invention of Culture, Roy Wagner tackles the logic and motives that underlie cultural invention. Could there be a single, logical factor that makes the invention of the distinction between self and other possible, much as specific human genes allow for language? Wagner explores what he calls "the reciprocity of perspectives" through a journey between Euro-American bodies of knowledge and his in-depth knowledge of Melanesian modes of thought. This logic grounds variants of the subject/object transformation, as Wagner works through examples such as the figure-ground reversal in Gestalt psychology, Lacan's theory of the mirror-stage formation of the Ego, and even the self-recursive structure of the aphorism and the joke. Juxtaposing Wittgenstein's and Leibniz's philosophy with Melanesian social logic, Wagner explores the cosmological dimensions of the ways in which different societies develop models of self and the subject/object distinction. This work was published by Saint Philip Street Press pursuant to a Creative Commons license permitting commercial use. All rights not granted by the work's license are retained by the author or authors.
The Logic of Invention
In this long-awaited sequel to The Invention of Culture, Roy Wagner tackles the logic and motives that underlie cultural invention. Could there be a single, logical factor that makes the invention of the distinction between self and other possible, much as specific human genes allow for language? Wagner explores what he calls "the reciprocity of perspectives" through a journey between Euro-American bodies of knowledge and his in-depth knowledge of Melanesian modes of thought. This logic grounds variants of the subject/object transformation, as Wagner works through examples such as the figure-ground reversal in Gestalt psychology, Lacan's theory of the mirror-stage formation of the Ego, and even the self-recursive structure of the aphorism and the joke. Juxtaposing Wittgenstein's and Leibniz's philosophy with Melanesian social logic, Wagner explores the cosmological dimensions of the ways in which different societies develop models of self and the subject/object distinction. The result is a philosophical tour de force by one of anthropology's greatest mavericks.
Roy H. Wagner
Named by Kodak as among the "100 Top Cinematographers in the World," Roy H. Wagner is responsible for some of the most striking and unique photography in American cinema and television of the past forty years. Mentored by legendary cinematographers of Hollywood's Golden Age and beginning his career during the revolutionary aesthetic shifts of the New Hollywood era, Wagner has brought both a studio craftsman ethic and maverick artistic sensibility to his work that includes A Nightmare on Elm Street 3: Dream Warriors, Beauty and the Beast, Quantum Leap, House M.D., among many others. This autobiography charts Roy's life as a young small-town Midwestern dreamer to his career as an acclaimed, aw...
