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AbstractThis article documents the ḥawākīr of Nazareth. Once widespread in the city, these traditional domestic gardens were integral to households of all economic backgrounds. They served as a space for work and socializing, constituted a center of collective (extended family) life, and provided a wide diversity of crops. However, in recent decades ḥawākīr have disappeared rapidly as new houses were built overtop them and residents' tastes changed. Today people prefer gardens with green lawns and flowers. Intended strictly for recreation and ornament, this new kind of garden acts as a marker of privacy and economic success. We use ethnographic data to provide detailed descriptions of historical and contemporary examples of the traditional garden. The analysis dwells on the resonances between changing practices around and meanings of ḥawākīr and the changing character of the urban landscape, on the value of ḥawākīr as sites of attachment and identity, and on the potential of their revival to generate urban sustainability.

Some years ago, I realized that I was the first historian of Germany hired in a tenure-track position at Amherst College. I got my job in 2000. Steeped in German history, I was surprised that a premier liberal arts college chose to hire a historian of Germany only at the very end of the twentieth century. My generation of historians of Germany often think—and other historians of Europe share our perception—that German history is a strong (if not the strongest) field in modern European history. Whether measured anecdotally by the number of job openings, the number of historians hired, the stream of published books, or the share of German history articles in academic journals, it always seems that German historians and German history are at the forefront. In fact, though, historians of Germany have always made up the smallest cohort of historians of the major European history fields (that also include British, Russian, and French history). According to the latest figures available from the American Historical Association (AHA), in 2010 there were 990 historians of Britain, 668 historians of Russia, 605 historians of France, and 592 historians of Germany in the United States.

This study contributes to the discussion on the production of anthropological knowledge and the visual arts in particular fields such as design, installation and curation. The fieldwork was conducted in La Habana under the guise of the practice of curation as a site of ethnographic practice, method and theory building. In concrete terms, the study centres on an exhibition called Cultura Autóctona, with the objective of understanding the contemporary Cuban art scene and its repercussions for the production of practices involved in its politically critical social context. The design of the exhibition and curation process has contributed elements to the current debate within visual anthropology: understanding of the image as a process of inter-relation, more than of description. ; Esta investigación participa de la discusión sobre la urgencia de la problematización del trabajo de campo para la producción de conocimiento antropológico a través de nociones provenientes de las artes visuales como diseño, instalación y curaduría. El trabajo de campo fue realizado en La Habana bajo la noción de práctica curatorial como práctica etnográfica, método y modo de producción teórica. La práctica curatorial se concretó en una exhibición nombrada Cultura autóctona, con el objetivo de comprender la escena actual del arte cubano y su repercusión en la producción de prácticas involucradas con su contexto social potencialmente críticas. El diseño de la operación de encuentro como parte del proceso de la práctica curatorial aportó elementos a la actual discusión de la antropología visual, al entender la imagen como parte de procesos de relacionamiento, más que de descripción. ; Esta pesquisa participa da discussão sobre a urgência da problematização do trabalho de campo para a produção de conhecimento antropológico através de conceitos que provêm das artes visuais como desenho, instalação e curadoria. O trabalho de campo foi realizado em Havana sob a noção da prática curatorial como prática etnográfica, método e modo de produção teórica. A prática curatorial materializou-se numa exibição chamada Cultura Autóctone, a fim de compreender a cena atual de arte cubana e sua repercussão na produção de práticas envolvidas com seu contexto social potencialmente críticas. O desenho da operação do encontro como parte do processo da prática curatorial contribuiu com elementos para a discussão atual da antropologia visual, ao compreender a imagem como parte de processos de relacionamento mais do que de descrição.

Esta investigación participa de la discusión sobre la urgencia de la problematización del trabajo de campo para la producción de conocimiento antropológico a través de nociones provenientes de las artes visuales como diseño, instalación y curaduría. El trabajo de campo fue realizado en La Habana bajo la noción de práctica curatorial como práctica etnográfica, método y modo de producción teórica. La práctica curatorial se concretó en una exhibición nombrada Cultura autóctona, con el objetivo de comprender la escena actual del arte cubano y su repercusión en la producción de prácticas involucradas con su contexto social potencialmente críticas. El diseño de la operación de encuentro como parte del proceso de la práctica curatorial aportó elementos a la actual discusión de la antropología visual, al entender la imagen como parte de procesos de relacionamiento, más que de descripción. ; This study contributes to the discussion on the production of anthropological knowledge and the visual arts in particular fields such as design, installation and curation. The fieldwork was conducted in La Habana under the guise of the practice of curation as a site of ethnographic practice, method and theory building. In concrete terms, the study centres on an exhibition called Cultura autóctona, with the objective of understanding the contemporary Cuban art scene and its repercussions for the production of practices involved in its politically critical social context. The design of the exhibition and curation process has contributed elements to the current debate within visual anthropology: understanding of the image as a process of inter-relation, more than of description. ; Esta pesquisa participa da discussão sobre a urgência da problematização do trabalho de campo para a produção de conhecimento antropológico através de conceitos que provêm das artes visuais como desenho, instalação e curadoria. O trabalho de campo foi realizado em Havana sob a noção da prática curatorial como prática etnográfica, método e modo de produção teórica. A prática curatorial materializou-se numa exibição chamada Cultura autóctone, a fim de compreender a cena atual de arte cubana e sua repercussão na produção de práticas envolvidas com seu contexto social potencialmente críticas. O desenho da operação do encontro como parte do processo da prática curatorial contribuiu com elementos para a discussão atual da antropologia visual, ao compreender a imagem como parte de processos de relacionamento mais do que de descrição.

This article focuses on the cultivation of graduate students in the practical degree category of China's MFA since the 1930s, the graduate education of professional master, the development process of multidisciplinary master, and master of fine arts, the defects of undergraduate and graduate major catalogues.

This paper situates the Phong Tuek Viṣṇu, a lesser-known Dvāravatī sculpture from western Thailand, in its archaeological and art historical context in order to demonstrate 7th to 8th century artistic and political connections across mainland Southeast Asia. The circumstances of the Viṣṇu's rediscovery in the early 1950s, as well as its subsequent "restoration" and preservation at Wat Dong Sak, are examined through reappraisal of documentary evidence, new field reconnaissance, interviews of local residents, and systematic examination of the sculpture itself. Detailed stylistic analysis and conjectural reconstruction of the sculpture's original appearance place the image within the broader development of the mitred Viṣṇu iconographic type known from sites throughout Southeast Asia. With particular emphasis on the details of the headdress and garment, specific comparisons are made to related sculpture from Thailand, Arakan (Myanmar), Preangkorian Cambodia, and the Cham civilization of Vietnam. The Phong Tuek Viṣṇu's idiosyncratic features and geographically dispersed stylistic relationships suggest a probable early 8th century date following the mid-to-late 7th century expansion of Khmer elites out of the Kampong Thom area of Cambodia. The Phong Tuek Viṣṇu, therefore, provides valuable testimony of a particularly intense period of interactions spanning mainland Southeast Asia from Arakan in the west to central Vietnam in the east.