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-- Chinese calligraphy lessons for beginners. Free! It is rather just to point out what I see as the striking malleability and cultural specificity of moral boundaries and how in cases like the one just mentioned, a few moments can totally change the acceptability of certain actions. While listening to military briefings in the news, often it is explicitly stated that an objective of some operations will be to "capture or kill" the enemy. Of the victim's life that cause us to react or not to their death. Whether it was the American, Michael Rockefeller, or the Solomon Islander named Tombat, the British Missionary Chalmer, or Limbang the Dayak ?reaction on an emotional level has more to do with what we know about that person than their nationality, race or religion per se. Of course, people from outside headhunting cultures, that become the victims of headhunting will always have a degree of sensational interest attached to their stories just because of the relative novelty of the event. Boas was on to something, and Miller’s ideas strike me as complimentary and mutually reinforcing. While Boas only mentions the personal creative satisfaction of the artisan him or herself, the idea that creative virtuosity could serve as an appeal to prospective mates, seems like a fairly reasonable extension of his conclusions on art motives? and one that could reinforce the artisans own pleasure in the aesthetically creative act. Yet it struck me that headhunting quite often, though not always, occurs in the context of inter-tribal or inter-village warfare. So, would placing headhunting in the context of war mitigate the abhorrence some of us might feel toward the institution of headhunting? Interestingly, it strikes me that for natives of, as Steve P. aptly designated it ? |
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