The Other Side: Ways of Being and Place in Vanuatu (review)

The Other Side: Ways of Being and Place in Vanuatu (review) book and media reviews description the text provides and will wish to see more of the proof behind its claims. Taylor draws heavily on his 1999­2000 doctoral research in north Pentecost to develop the book's central thesis. He argues that there is a recurring structural similarity perceptible across the Sia Raga cultural landscape, a "basic analogical pattern" through which the Sia Raga "locate their sociological and cosmological understandings in space and time" (4). Taylor identifies in particular two guiding principles that he sees repeatedly giving shape to Sia Raga thought, expression, practice, and material design: the processes of trajectory (movement) and division (splitting), and the division of the world into multiple dualities or "sides," each engaged in creative tension with its partnered other. Taylor sees these principles expressed in the shared shapes and tropes of historical and cosmological narratives and diagrams, sand drawings, textile designs, kinship relationships and practices, the organization of space and living habitats, and the architecture of "men's houses" and ordinary dwellings. Taylor is careful to acknowledge early and often the seductive yet misleading power of such conceptual structures--how they seem "to say at once everything and nothing" (108). The elegant outlines in diagrams will http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Contemporary Pacific University of Hawai'I Press

The Other Side: Ways of Being and Place in Vanuatu (review)

The Contemporary Pacific, Volume 24 (1) – Feb 12, 2012

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Publisher
University of Hawai'I Press
Copyright
Copyright © 2008 University of Hawai'i Press.
ISSN
1527-9464
Publisher site
See Article on Publisher Site

Abstract

book and media reviews description the text provides and will wish to see more of the proof behind its claims. Taylor draws heavily on his 1999­2000 doctoral research in north Pentecost to develop the book's central thesis. He argues that there is a recurring structural similarity perceptible across the Sia Raga cultural landscape, a "basic analogical pattern" through which the Sia Raga "locate their sociological and cosmological understandings in space and time" (4). Taylor identifies in particular two guiding principles that he sees repeatedly giving shape to Sia Raga thought, expression, practice, and material design: the processes of trajectory (movement) and division (splitting), and the division of the world into multiple dualities or "sides," each engaged in creative tension with its partnered other. Taylor sees these principles expressed in the shared shapes and tropes of historical and cosmological narratives and diagrams, sand drawings, textile designs, kinship relationships and practices, the organization of space and living habitats, and the architecture of "men's houses" and ordinary dwellings. Taylor is careful to acknowledge early and often the seductive yet misleading power of such conceptual structures--how they seem "to say at once everything and nothing" (108). The elegant outlines in diagrams will

Journal

The Contemporary PacificUniversity of Hawai'I Press

Published: Feb 12, 2012

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