La trace chantée dans la peinture kija du Kimberley oriental Arnaud Morvan L'art aborigène australien dans ses composantes rituelles ou contemporaines offre l'exemple singulier d'une tradition iconographique qui intègre des éléments d'oralité et de performance dans un processus mnémonique. Nous allons nous intéresser plus particulièrement ici à la relation entre l'image et le chant dans l'art kija du Kimberley 1. En Australie, l'année 1971 marque la coïncidence de deux événements majeurs dans l'appréhension des composantes orales et picturales de la culture aborigène. Le premier est constitué par l'émergence d'un mouvement artistique aborigène qui révéla l'iconographie des groupes du désert, le second par la publication de l'
Debates about emerging infectious diseases often oppose natural conceptions of zoonotic reservoirs with cultural practices bringing humans into contact with animals. This article compares the representations of cross-species pathogens at ontological levels below the opposition between nature and culture. It describes the perceptions of distinctions between interiority and physicality, between wild and domestic, and between sick and dead in three different contexts where human societies manage animal diseases: Australia, Laos and Mongolia. Our article also argues that zoonotic pathogens are one of the entities mobilized by local knowledge to attenuate troubles in ordinary relations with animals, and shows that the conservation of cultural heritage is a tool of mitigation for infectious diseases emerging in animal reservoirs.
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