By Andrew Dawson, Jenny Hockey, Allison James
This assortment addresses the topic of illustration in anthropology. Its fourteen articles discover a number of the instructions during which modern anthropology is relocating, following the questions raised by way of the ''writing culture'' debates of the Eighties. It contains dialogue of matters similar to: * the concept that of caste in Indian society * scottish ethnography * how desires are culturally conceptualised * representations of the relatives * tradition as conservation * gardens, subject matter parks and the anthropologist in Japan * illustration in rural Japan * people's position within the panorama of Northern Australia * representing identification of the recent Zealand Maori.
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Extra info for After Writing Culture: Epistemology and Praxis in Contemporary Anthropology
The fact that in that ‘ideal situation’ he would no longer be a Berber tribesman but something coming to resemble Professor Gellner does not appear to worry such cultural translators. (Asad 1986:162) Modern anthropology was concerned to discern a human nature that could, once it was understood, serve as a basis for understanding—and implicitly for dissolving—cultural difference. Its tendency to ‘fix’ the peoples of other cultures within social and cultural structures which entrapped them in the ‘idioms of their beliefs’ served to explain why they had to date played no role in the modernising process; the ‘translation’ of those beliefs into the idiom of modernist comprehension served as a prolegomenon to the destruction of those aspects of their cultures that prevented assimilation into the project of modernity.
A third project meticulously traces the negotiations, appropriations and resistances that enabled the ethnographer to do fieldwork at all, while at the same time documenting the observed process by which people’s actions could lead to an understanding of ‘culture’. Finally, the integrity of that documentation is presented as both the result and the enablement of those appropriations and resistances. While Seremetakis is an assured spokesperson, Tsing speaks with diffidence, exposing her personal vulnerability and setting up Uma Adang as the knower who ‘always already knows’.
These paths inevitably created new spaces and new positions from which to view. Tsing refers to this neolocality as cross-cultural storytelling, or ‘telling cultural differences’. : 289). I take this to be Tsing’s approach: to appreciate the pattern of another place by allowing its people full expression. Co-inventiveness is foregrounded in the very naming of the Meratus, which Tsing and a Meratus scholar made up together (Tsing 1994:286). Meratus also make their entry as scholars in the theoretical framing of Tsing’s ethnographic enterprise.
After Writing Culture: Epistemology and Praxis in Contemporary Anthropology by Andrew Dawson, Jenny Hockey, Allison James