By James Clifford (ed.), George E. Marcus (ed.)
In those new essays, a bunch of skilled ethnographers, a literary critic, and a historian of anthropology, all identified for complicated analytic paintings on ethnographic writing, position ethnography on the heart of a brand new intersection of social historical past, interpretive anthropology, go back and forth writing, discourse concept, and textual criticism.The authors research vintage examples of cultural description, from Goethe and Catlin to Malinowski, Evans-Pritchard, and Le Roy Ladurie, exhibiting the patience of allegorial styles and rhetorical tropes. They check contemporary experimental traits and discover the capabilities of orality, ethnicity, and gear in ethnographic composition. Writing tradition argues that ethnography is in the course of a political and epistemological challenge: Western writers not painting non-Western peoples with unchallenged authority; the method of cultural illustration is now inescapably contingent, ancient, and contestable. The essays during this quantity aid us think a completely dialectical ethnography performing powerfully within the postmodern global procedure. They problem all writers within the humanities and social sciences to reconsider the poetics and politics of cultural invention.
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Additional info for Writing Culture: The Poetics and Politics of Ethnography
Kung women's lives were like today might reflect what their lives had been like for generations, possibly even for thousands of years. (Shostak 1 9 8 1 : 6 ) " R e c e n t " a n d "subtle" are n o t the adjectives that c o m e to m i n d w h e n o n e p o n d e r s t h e g r i m history o f the B u s h m a n c o n q u e s t . T h i s is a his tory o f w h i c h S h o s t a k a n d h e r c o l l e a g u e s s e e m at times d e e p l y a w a r e , at t i m e s totally o b l i v i o u s . Kung a r e n o t to be treated as " l i v i n g fossils" o r " m i s s i n g l i n k s " ( L e e i 9 7 g : x v i i ) , that their colonial past a n d c h a n g i n g p r e s e n t m u s t b e g i v e n full r e c o g n i t i o n to avoid d e h u m a n i z a t i o n a n d dis t o r t i o n .
T h e O - K e e - P a , the carnival, a n d the c o c k f i g h t all b e c o m e figures o f d i s o r d e r — o f arbitrary v i o l e n c e , u n r u l i n e s s , a n d m e a n i n g l e s s n e s s — i n a t r a n s c e n d i n g story in w h i c h precisely this d i s o r d e r , this v i o l e n c e , u n r u l i n e s s , a n d m e a n i n g l e s s n e s s are o v e r c o m e . T h e c e r e m o n i e s a r e s h o w n to h a v e , if n o t o r d e r a n d m e a n i n g , t h e n at least sig nificance.
To the M a n d a n ? " T h e y are d i r e c t e d to the r e a d e r , a n d it is the reader's reaction that will g u a r a n t e e Catlin's p e r c e p t i o n s . I n t h e s e p a s s a g e s a n d t h r o u g h o u t his Manners, Customs, and Condilions of the North American Indians, Catlin's principal stylistic figure is h y p o t y p o s i s . H i s a i m is to i m p r e s s his e x p e r i e n c e o f w h a t h e has seen so s t r o n g l y , so vividly, o n his r e a d e r s that they c a n n o t d o u b t its veracity.