Alle Publikationen
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2016
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(2016): The Detour of an Obstetric Technology. Active Management of Labor Across Cultures. In: Medical anthropology 35 (1), S. 17-30. DOI: 10.1080/01459740.2015.1091817
DOI: http://www.ncbi.nlm.nih.gov/pubmed/26484745 Abstract: Active management of labor (AML) is an obstetric technology developed in Ireland in the 1970s to accelerate labor in nulliparous women. This technology achieved rapid success in Great Britain and in English-speaking countries outside America, which adopted it before many other states around the world. In this article, I explore AML's technical and social characteristics when it was first designed, and then examine its local inflections in a Jordanian and a Swiss maternity hospital to shed light on the ways its transnational circulation modifies its script. I argue that its application is shaped by local material constraints and specific sociocultural configurations, gender regimes, and hospital cultures. Finally, I make a comparative analysis of AML practices in these two settings and in the foundational textbook to disentangle the technical and sociocultural components modeling its local applications.
Keywords: Active management of labor (AML), ANTHROPOLOGY, Disziplin, Ethnology, Female, Geburt, Gender, Human Body, Humans, Jordan, Konventionen, Kriterien für sozial angemessenes Verhalten und dessen Bewertung, Kultur, Kulturdifferenz, Kulturspezifizität, Kulturtechnik, Kulturtheorie, Kulturvergleich, labor, Medical, Medizin, Normen, Observablen, Obstetrics, Pregnancy, script, Switzerland, Women 2012
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(2012): The self-promoting playful pen in graphic and literary rhino-caricatures. In: HUMOR-INTERNATIONAL JOURNAL OF HUMOR RESEARCH 25 (2), S. 179-198
Abstract: From ancient times to the present, artists’ and authors’ creative, critical, and diverting pens have caricatured the human nose. Their amusing games express the power of the artistic imagination to turn their subjects into game pieces by (1) poking fun at their sociopolitical status through exaggerating or diminishing the size and shape of their noses; (2) playing upon hilarious, multifaceted links between their noses, phalluses, and the mocking pen; and (3) building canonical play frames that expand the artists’ and authors’ ability to mock the sociopolitical competition for power and influence. Though these games at times transgress the boundaries of decorum, they also underscore graphic and verbal caricaturists’ self-promotional creativity, as they address the many inequalities in actual and fictive worlds.
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