Academic literature on the topic 'Ethnographic narrative fiction'
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Journal articles on the topic "Ethnographic narrative fiction"
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MANE, Youssoupha. "The Poiesis of Writing Culture: Ordained by the Oracle by Asare Konadu as an African Ethnographic Novel Unveiling the Asante’s Traditions." ALTRALANG Journal 4, no. 01 (June 30, 2022): 53–78. http://dx.doi.org/10.52919/altralang.v4i01.179.
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The paper specifically beams its searchlights on the incident of the ethnographic mode of narration in the crafting of the narrative fiction — Ordained by the Oracle (1969) by the Asare Konadu. The novel is scrutinized as an inventory of Asante customs, moral, social and religious philosophy. It becomes the art of thick descriptions, the intricate interweaving of plots and counterplots. Asare Konadu is labelled here as a journalist-novelist and ethnographer-novelist who has adhered strictly to social ethnographic facts as he pertained to the etched culture. Konadu has selected some Asante ethnographic data (funeral ritual performances, mythology, divination, chieftainship, etc. and woven them into a plot around imaginary Asante hero and heroine through a blurred writing genre—ethnographic fiction encompassing compelling events and useful ethnographic detail which advance the reader’s ability to understand the constrictions of circumstance on characters.
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Dourish, Paul, and Edgar Gómez Cruz. "Datafication and data fiction: Narrating data and narrating with data." Big Data & Society 5, no. 2 (July 2018): 205395171878408. http://dx.doi.org/10.1177/2053951718784083.
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Data do not speak for themselves. Data must be narrated—put to work in particular contexts, sunk into narratives that give them shape and meaning, and mobilized as part of broader processes of interpretation and meaning-making. We examine these processes through the lens of ethnographic practice and, in particular, ethnography’s attention to narrative processes. We draw on a particular case in which digital data must be animated and narrated by different groups in order to examine broader questions of how we might come to understand data ethnographically.
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Banda, Maria Matildis. "Konstruksi Latar dalam Fiksi Etnografis Orang-Orang Oetimu." Stilistika : Journal of Indonesian Language and Literature 1, no. 1 (October 17, 2021): 19. http://dx.doi.org/10.24843/stil.2021.v01.i01.p02.
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This paper examines the setting construction in the ethnographic fiction of Orang-Orang Oetimu by Felix K. Nesi. Analytical descriptive methods, oral tradition, narratology, and setting theory were used to answer questions about: colonial and decolonial settings, socio-educational, ethnographic, and military violence setting. The results depict that the colonial and decolonial grounds left scars on the nation, which experienced previous neglect and alienation in their land. This long-experienced trauma affects massive social, education, and military violence behaviors. In addition, colonial and decolonial history also intersects with ethnographic, mainly traditional beliefs about local history and myths about “sifon,” which is a tradition of having sex after circumcision. Unpredictable and irreversible patterns of colonial, decolonial, and ethnographic settings are also shockingly strengthening the plot, proofing that the well-constructed set produces quality and innovative story, narrative, and narrating.
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Kennon, Raquel. "“In de Affica Soil”: Slavery, Ethnography, and Recovery in Zora Neale Hurston’sBarracoon: The Story of the “Last Black Cargo”." MELUS 46, no. 1 (March 1, 2021): 75–104. http://dx.doi.org/10.1093/melus/mlab003.
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AbstractI explore the relationship between Hurston as ethnographer and Kossola as subject in Zora Neale Hurston’s Barracoon: The Story of the Last “Black Cargo,” posthumously published in 2018 but extant since 1931. Barracoon reveals how Hurston wrestles with her dual identity as fiction writer and cultural anthropologist as it crafts a narrative of slavery and liberation around conjured memory and the ethnographic relationship. The essay considers how Hurston harnesses her rhetorical powers to convince Kossola to share recollections of his life “in Affica soil,” and examines how the themes of loss and recovery emerge in Hurston’s recording of Kossola’s narrative of capture, enslavement, and free life in Africatown, the construction of an archive of transatlantic slavery, and the extraliterary narrative of Alice Walker’s reclamation of Hurston’s own voice into the canon.
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BRUETON, JOANNE. "“Cherchez la fiction”: Stories of Self-Realization in Anne Garréta’s Pas un jour and Leïla Slimani’s Sexe et mensonges." Australian Journal of French Studies 58, no. 2 (July 1, 2021): 164–77. http://dx.doi.org/10.3828/ajfs.2021.14.
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Faced with the hermetic interiority of post-structuralist narratives, twenty-first-century French literature tends to turn outwards and explore sociohistorical realities as a fertile source of fiction. In this article, I compare two contemporary writers rarely paired together—Anne Garréta and Leïla Slimani—to consider the enduring importance of discursive paradigms in realizing a sense of self. Although Garréta’s mechanised autobiographical aesthetic in Pas un Jour seems to jar with Slimani’s ethnographic journalism in Sexe et mensonges, I argue that both use heuristic narratives to conduct a survey of female desire whose reality is only legible in literature. Intersecting with narrative theories formulated by Barthes, Jameson and Cixous, this article argues that Slimani and Garréta perform their lived sexual experience through a carefully manufactured textual machine that grants them freedom. Only through the straitjacket of a fictional system can the reader glean the reality of female subjectivities so long obscured by myth.
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Smith, Brett. "Sporting Spinal Cord Injuries, Social Relations, and Rehabilitation Narratives: An Ethnographic Creative Non-Fiction of Becoming Disabled Through Sport." Sociology of Sport Journal 30, no. 2 (June 2013): 132–52. http://dx.doi.org/10.1123/ssj.30.2.132.
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Working at the intersection of sociology and psychology, the purpose of this paper was to examine people’s experiences during rehabilitation of being and having an impaired body as a result of suffering a spinal cord injury (SCI) while playing sport. Interview data with men (n = 20) and observational data were collected. All data were analyzed using narrative analyses. To communicate findings in a way that can incorporate the complexity of results and reach wide audiences, the genre of ethnographic creative nonfiction was used. The ethnographic creative nonfiction extends research into issues related to disability, rehabilitation and sporting injury by 1) producing original empirical knowledge, 2) generating a theoretical account of human thought, affect and action as emerging not inside the individual but within social relations and the narratives that circulate between actors, and 3) capturing the impact of this research.
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Widmer, Alexandra. "The Order of the Magic Lantern Slides." Commoning Ethnography 2, no. 1 (December 19, 2019): 52. http://dx.doi.org/10.26686/ce.v2i1.5269.
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Dr Sylvester Lambert, an American public health doctor who worked for the International Health Board of the Rockefeller Foundation, created a magic lantern slide presentation to retell the arrest of a sorcerer that he had witnessed in 1925 on the island of Malakula in Vanuatu. In this article, I use creative non-fiction to envision other audiences and narrators of this storied event to present an expanded picture of life for Pacific Islanders at that time. I also reflect on how particular events make for good stories because they are contests about belief and incredulity. Reimagining medical stories of sorcery reminds us that medicine is part of larger contests over the nature of reality. This is an imaginative ethnographic experiment with decolonizing intentions which combines archival research, ethnographic research, colonial images and creative non-fiction. It aspires to untie the images from a single fixed colonial narrative and to revisit the images in ways that are open to multiple interpretations, audiences, and narrators.
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Liou, Liang-ya. "Autoethnographic Expression and Cultural Translation in Tian Yage's Short Stories." China Quarterly 211 (September 2012): 806–26. http://dx.doi.org/10.1017/s030574101200080x.
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AbstractThis article explores how three short stories set in 1980s Taiwan by the Taiwanese aboriginal writer Tian Yage (Tuobasi Tamapima) can be read as autoethnographic fiction as well as modern fiction, portraying contemporary Taiwanese aboriginal society caught between indigenous folkways and colonial modernity, and how the narrators of the stories tackle cultural translation. I begin with a discussion of Sun Ta-chuan's caution in 1991 as the Taiwan Aboriginal Movement was evolving into the Taiwan Aboriginal Cultural Revivalist Movement. After analysing anthropology's relationship with aborigines and imperialism, I apply Mary Louise Pratt's concept of autoethnography to the aboriginal activists' ethnographic studies and personal narratives. I argue that, prior to the Taiwan Aboriginal Cultural Revivalist Movement, Tian sought to construct an aboriginal cultural identity vis-à-vis the metropolis and to envision a cultural revival within the indigenous community, while he also explored the dilemmas and difficulties that arose from these. In the last section, I apply Homi K. Bhabha's theory of the untranslatable in cultural translation to further examine the language, the narrative voice and the form of both autoethnographic fiction and modern fiction in Tian's stories. I argue that writing Chinese-language modern fiction is a tacit recognition on Tian's part of the legacy of colonial modernity, but the purpose is to manoeuvre for a rethinking of the Taiwanese modern subject. As the narrative voice of his stories is one of an aboriginal speaking as a subject rather than an object, speaking with the backdrop of the aboriginal village as the locus of indigenous traditions vis-à-vis the dominant society, Tian is implicitly demanding aboriginal rights and a reconsideration of the Taiwanese modern subject as well as a shift in the paradigm of historiography on Taiwan.
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Eils, Colleen Gleeson. "Narrative Privacy: Evading Ethnographic Surveillance in Fiction by Sherman Alexie, Rigoberto González, and Nam Le." MELUS 42, no. 2 (2017): 30–52. http://dx.doi.org/10.1093/melus/mlx026.
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Pelosi, Ligia. "The participant as evolving protagonist." Qualitative Research Journal 15, no. 2 (May 5, 2015): 112–20. http://dx.doi.org/10.1108/qrj-01-2015-0003.
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Purpose – The purpose of this paper is to explore the role of the participant in narrative research. Rather than a passive and static element, the participant often adds a vibrant, evolving and independent dimension to the process. Design/methodology/approach – The focus of this type of methodology is creative and unpredictable. Featured in the paper is the use of ethnographic fiction to examine and represent themes emerging from the data. Findings – The participant’s contribution to narrative research introduces an unexpected quantity to the findings, which can redefine how questions, perspectives and direction of the research are framed. Research limitations/implications – The research process can be viewed as a reciprocal event, a space where both researcher and participant co-exist, redefine understandings and contribute to findings in collaboration. This process relies heavily on relationships, and may be impaired if participant and researcher do not develop a suitable rapport. Practical implications – This particular methodology can be unpredictable. As a creative process that depends on the development of sound personal relationships between participant and researcher, reliance on the researcher’s insight, ingenuity and resourcefulness is essential. Social implications – This paper focuses on the participant as equal protagonist in the research process. It seeks to view the research process differently, highlighting how and why narrative research can be a significant journey of growth and discovery for the participant as well as for the researcher. Originality/value – Arts-based methodologies in qualitative research are still in a phase of exploration. The use of fiction writing in narrative research is a powerful way to explore issues in a way that connects researcher, participant and audience in meaningful discourse.
Dissertations / Theses on the topic "Ethnographic narrative fiction"
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Van, Luyn Ariella. "The artful life story : the oral history interview as fiction." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/60921/1/Ariella_Van_Luyn_Thesis.pdf.
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This practice-led PhD project consists of two parts. The first is an exegesis documenting how a fiction writer can enter a dialogue with the oral history project in Australia. I identify two philosophical mandates of the oral history project in Australia that have shaped my creative practice: an emphasis on the analysis of the interviewee’s subjective experience as a means of understanding the past, and the desire to engage a wide audience in order to promote empathy towards the subject. The discussion around fiction in the oral history project is in its infancy. In order to deepen the debate, I draw on the more mature discussion in ethnographic fiction. I rely on literary theorists Steven Greenblatt, Dorrit Cohn and Gerard Genette to develop a clear understanding of the distinct narrative qualities of fiction, in order to explore how fiction can re-present and explore an interviewee’s subjective experience, and engage a wide readership. I document my own methodology for producing a work of fiction that is enriched by oral history methodology and theory, and responds to the mandates of the project. I demonstrate the means by which fiction and the oral history project can enter a dialogue in the truest sense of the word: a two-way conversation that enriches and augments practice in both fields.
The second part of the PhD is a novel, set in Brisbane and based on oral history interviews and archival material I gathered over the course of the project. The novel centres on Brisbane artist Evelyn, who has been given an impossible task: a derelict old house is about to be demolished, and she must capture its history in a sculpture that will be built on the site. Evelyn struggles to come up with ideas and create the sculpture, realising that she has no way to discover who inhabited the house. What follows is a series of stories, each set in a different era in Brisbane’s history, which take the reader backwards through the house’s history. Hidden Objects is a novel about the impossibility of grasping the past and the powerful pull of storytelling.
The novel is an experiment in a hybrid form and is accompanied by an appendix that identifies the historically accurate sources informing the fiction. The decisions about the aesthetics of the novel were a direct result of my engagement with the mandates of the oral history project in Australia. The novel was shortlisted in the 2012 Queensland Literary Awards, unpublished manuscript category.
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Keys, Philip Mark. "Primary and secondary teachers shaping the science curriculum : the influence of teacher knowledge." Thesis, Queensland University of Technology, 2003. https://eprints.qut.edu.au/15920/1/Philip_Keys_Thesis.pdf.
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This thesis reports on how primary and secondary teachers' knowledge influenced the implementation of a Year 1-10 science syllabus which was introduced into Queensland in 1999. The study investigated how the teachers' knowledge of the primary and secondary teachers differed and how teachers' knowledge impacted on the implementation of the science curriculum. Teacher knowledge otherwise referred to as teacher beliefs and practices has been acknowledged as an influence in the implementation of curriculum. Yet, a considerable portion of curriculum evaluation has focused on measuring the successful implementation of the intended curriculum and not the enactment. As a result, few studies have investigated how the curriculum has been influenced by teacher knowledge or have compared primary and secondary teacher knowledge. Furthermore, in order to provide a seamless grade one to ten science syllabus it is necessary to compare primary and secondary teacher beliefs and practices to determine whether or not the beliefs and practices held by these two groups of teachers is similar or dissimilar and how these beliefs and practices in turn, impact on the implementation of a curriculum. The research adopted Eisner's (1991) methodology of educational criticism and used a comparative case study approach to investigate the teacher knowledge of four primary and three secondary teachers. Data were presented as a dialogue between three composite characters, a lower primary, a middle/upper primary and a secondary teacher. The results revealed that teachers utilised three sets of beliefs to shape the implementation of the science curriculum. These were categorised as expressed, entrenched and manifested beliefs. The primary and secondary teachers did possess similar sets of beliefs and knowledge bases but their strategies for implementation in some instances were different. Furthermore, these sets of beliefs and knowledge bases served as motivator or an inhibitor to teach science in the manner that they did. A theoretical model was developed to explain how these sets of beliefs influenced the curriculum. This study provides professional developers with a framework to observe teacher beliefs in action and thereby to assist in the facilitation of curriculum change.
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Keys, Philip Mark. "Primary And Secondary Teachers Shaping The Science Curriculum: The Influence Of Teacher Knowledge." Queensland University of Technology, 2003. http://eprints.qut.edu.au/15920/.
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This thesis reports on how primary and secondary teachers' knowledge influenced the implementation of a Year 1-10 science syllabus which was introduced into Queensland in 1999. The study investigated how the teachers' knowledge of the primary and secondary teachers differed and how teachers' knowledge impacted on the implementation of the science curriculum. Teacher knowledge otherwise referred to as teacher beliefs and practices has been acknowledged as an influence in the implementation of curriculum. Yet, a considerable portion of curriculum evaluation has focused on measuring the successful implementation of the intended curriculum and not the enactment. As a result, few studies have investigated how the curriculum has been influenced by teacher knowledge or have compared primary and secondary teacher knowledge. Furthermore, in order to provide a seamless grade one to ten science syllabus it is necessary to compare primary and secondary teacher beliefs and practices to determine whether or not the beliefs and practices held by these two groups of teachers is similar or dissimilar and how these beliefs and practices in turn, impact on the implementation of a curriculum. The research adopted Eisner's (1991) methodology of educational criticism and used a comparative case study approach to investigate the teacher knowledge of four primary and three secondary teachers. Data were presented as a dialogue between three composite characters, a lower primary, a middle/upper primary and a secondary teacher. The results revealed that teachers utilised three sets of beliefs to shape the implementation of the science curriculum. These were categorised as expressed, entrenched and manifested beliefs. The primary and secondary teachers did possess similar sets of beliefs and knowledge bases but their strategies for implementation in some instances were different. Furthermore, these sets of beliefs and knowledge bases served as motivator or an inhibitor to teach science in the manner that they did. A theoretical model was developed to explain how these sets of beliefs influenced the curriculum. This study provides professional developers with a framework to observe teacher beliefs in action and thereby to assist in the facilitation of curriculum change.
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Guerrero, Pico María del Mar. "Historias más allá de lo filmado: Fan fiction y narrativa transmedia en series de televisión." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/385849.
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Esta tesis tiene como objeto de estudio el fan fiction (historias derivadas escritas por los fans de un producto de la cultura de masas) como modalidad de expansión narrativa de universos ficcionales transmedia originados en series de televisión. Concretamente, se ofrece un acercamiento a la capacidad creativa de los fans en entornos transmedia oficiales, y al fan fiction atendiendo a su dimensión textual y práctica a partir del estudio de caso de seis ficciones locales e internacionales: Águila Roja, Game of Thrones, Infidels, Mistresses, Fringe y Lost. Para ello se desarrolla un análisis textual fundamentado en la semiótica y la narratología, bases teóricas y metodológicas que se complementan con la etnografía digital en el estudio de una comunidad online de fan fiction. La utilización de estas metodologías supone un aporte innovador a los Fan Studies y la narrativa transmedia por los escasos referentes de su aplicación integrada en ambos campos.The object of study of this dissertation is fan fiction ––derivative stories written by fans of a mass culture product— as a form of narrative expansion in television-based transmedia fictional universes. Specifically, an approach to fans’ creative capacity in official transmedia environments is offered alongside an insight to the textual and practical dimensions of fan fiction focusing on the case study of six local and international television series: Águila Roja, Game of Thrones, Infidels, Mistresses, Fringe and Lost. In order to achieve this, a textual analysis drawing on semiotics and narratology is applied. Both theoretical and methodological sources are complemented with digital ethnography techniques in the study of an online fan fiction community. The application of these methods posits an innovative contribution to Fan Studies and transmedia storytelling research due to lacking models of their joint implementation in both fields.
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Nolan, Leeann Margaret Rose. "'I wouldn't say that' : finding a young adult, female voice in a Queensland mining town." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/66809/2/Leeann_Nolan_Thesis.pdf.
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This is a practice-led project consisting of a Young Adult novel, Open Cut, and an exegesis, 'I Wouldn't Say That': Finding a Young Adult, Female Voice in a Queensland Mining Town. The thesis investigates the use of first person narration in order to create an immediate engaging, realist Young Adult Fiction. The research design is bound by a feminist interpretative paradigm. The methodology employed is practice-led, auto-ethnography, and participant observation. Particular characteristics of first person narration used in Australian Young Adult Fiction are identified in an analysis of Dust, by Christine Bongers, and Jasper Jones, by Craig Silvey. The exegesis also contains a reflection on the researcher's creative work, and the process used to draft, edit, plot and construct the novel. The research contributes to knowledge in the field of Young Adult Literature because it offers a graphic portrayal of an Australian mining town that has not been heard before.
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Mansfield, Charles. "The role of literary texts in tourism destination management, place creation and marketing : a case study on Concarneau in Finistère, Brittany, and the Simenon Novel, The Yellow Dog." Thesis, University of Plymouth, 2015. http://hdl.handle.net/10026.1/4785.
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This doctoral thesis approaches literary tourism initially from an historical perspective in order to define the phenomenon through a review of the existing academic literature in the field. The forms of literary tourism are analysed to provide a typology and from this the value of literary tourism is explained both from the visitor's point of view and the destination manager's. Current theories underpinning the existing literature on literary tourism, including Bourdieu's concept of cultural capital are reviewed. To extend the current state of research and to answer the research questions a case study of successful urban literary tourism is identified, in this case in Brittany, France. The uses of French literature in literary tourism are reviewed to provide a sound basis on which to examine French texts and tourist destinations. Novel methods of field research are developed to formalise and to make reproducible the methodology for this study and for future work drawing on, and seeking to combine both literary theory and ethnography. Following a pilot study on the French Riviera the full discovery instruments are designed and applied in fieldwork on the case destination, Concarneau, using the detective novel, The Yellow Dog, which is set in Concarneau. Analysis of the findings from this provide a new contribution to the field of literary theory, in the area of reader interpellation, and answer the research questions in the form of a new set of recommendations for DMOs and tourism stakeholders. From the empirical study that used Web 2.0 social media, only available since 2013, an analysis of which novels do stimulate literary tourism is presented for the first time. Out of the research process new methods have been evolved, and are presented in the conclusion, for the DMO to synthesise and leverage digital resources. This provides DMOs with interpretation processes for its managed heritage to use with its local stakeholders in hotels and in tourism businesses. Finally, an innovative conceptualisation of what constitutes tourism knowledge is proposed.
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van, Toledo Samara. "Schooling sexuality: an intergenerational investigation of the educational experiences of Australian gay men and teens." Thesis, 2021. https://vuir.vu.edu.au/42966/.
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This study (re)presents the intergenerational experiences of gay men in Australian schools, communities and families across a fifty-year period. A snowball sample of six participants, ranging in age from fifteen to sixty-five, participated in life history interviews that focussed on eliciting narratives of (re)membered school experiences connected to the social and cultural discourses of (homo)sexuality. This study contributes to the scholarship of sexuality in Australian contexts. A particular gaze is directed on how schooling, family and community norms form and storm subjectivity and identity in childhood and adolescence.
This research is framed by the national debate regarding lesbian, gay, bisexual, transgender, intersex, and queer (LGBTIQ)+ rights in Australia that erupted over the implementation of the Safe Schools Coalition program across Australian states. The ensuing moral panic incited by conservative groups, and the public scrutiny surrounding the proposed support mechanisms and inclusivity for LGBTIQ+ adolescents and their peers, inspired my resolve to undertake this research. Drawing on a sociocultural framework to look at the intersections around sexuality, in conjunction with the embodied knowledge of Othering, I saw the importance of a discursive examination of experiential encounters with institutionalised heteronormativity in Australian schools, family dynamics and community settings.
The lived experiences of same-sex-attracted informants is an under-explored area within the scholarship of sexuality in Australian schools. This study elucidated firsthand experiences of what it has meant, and means, to be gay in Australian schools communities and families over a fifty-year period. The conclusions of the study indicate that all participants, regardless of age, have encountered overt (homo)phobia, and describe how heteronormativity has limited and negatively impacted on their ability to contribute and participate in school, in their families and in community settings.
This investigation is presented in the form of a creative product and an exegesis. In each of the components there is an understanding of how deviations from binary constructions of gender and sexuality are articulated. This study adds to the plethora of work and rethinking which needs to be done in Australian schools, families and communities to support LGBTIQ+ individuals.
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"In Dust We Trust: A Narrative Journey into the Communal Heart of Public Art at the Burning Man Festival." Doctoral diss., 2010. http://hdl.handle.net/2286/R.I.8785.
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abstract: The Burning Man Festival, a free-spirited yet highly sophisticated social experiment celebrating "radical self expression and radical self reliance" is well-known for its large-scale and highly interactive public art installations. For twenty-five years, Burners (as festival participants are called) have been creating and displaying amazing works of art for the annual event, which currently takes place in Nevada's Black Rock Desert. In the desert, Burners build a temporary city, appropriate the open space to serve as their "tabula rasa" or "blank canvas," and unleash their creative potential in the name of "active participation" and social civility. In the process, they produce public art on a scale unprecedented in United States history. This dissertation, a visual and narrative ethnography, explores the layers of aesthetic and social meanings Burners associate with public art. Told in narrative form, this project utilizes "in situ" field notes, photographic field notes, rhetorical analyses of art installations, thematic analysis of Burner storytelling, and writing as a method of inquiry as means for investigating and understanding more fully the ways Burners create, display, and consume public art. Findings for this project indicate Burners value public art beyond its material presentation. Preparing for, building, celebrating, and experiencing aesthetic transformation through the engagement of public art all are viewed as valuable"art" experiences at Burning Man. Working in tandem, these experiences also produce profound feelings of connection and collaboration in the community, suggesting Burning Man's methods for producing public art could serve as model to follow, or points for reflection, for other groups wishing to use public art and other forms of material expression to bring their members closer together.Dissertation/Thesis
Ph.D. Communication 2010
Books on the topic "Ethnographic narrative fiction"
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Drinkers, drummers, and decent folk: Ethnographic narratives of village Trinidad. Albany: State University of New York Press, 1989.
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Offen, Julia. Cultural Storytelling: How to Write an Ethnographic Narrative. Rowman & Littlefield Publishers, Incorporated, 2000.
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Offen, Julia. Cultural Storytelling: How to Write an Ethnographic Narrative. Rowman & Littlefield Publishers, Incorporated, 2000.
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Wall, Cynthia. Exploration, Expansion, and the Early Novel. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199580033.003.0027.
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This chapter shows how the exploration of the local and global worlds, the expansion of British trade and empire, catalysed new territories of fiction. It first focuses on writings regarding voyages and pirates, which have proliferated in the novels of the 1720s. The chapter then turns to the exploration of lands, where novels began providing zoological, ethnographic, and topographic detail. The point is not so much how the travel narratives may have been sources or models for the early novel, but rather how the early travel narratives themselves had the compelling power and quite often the narrative art of those early novels. Finally, the chapter turns to narratives set within England itself.
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Crosby, Jill Flanders, and JT Torres. Situated Narratives and Sacred Dance. University Press of Florida, 2021. http://dx.doi.org/10.5744/florida/9781683402060.001.0001.
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Through a revolutionary ethnographic approach that foregrounds storytelling and performance as alternative means of knowledge, this book explores shared ritual traditions between the Anlo-Ewe people of West Africa and their descendants, the Arará of Cuba, who were brought to the island in the transatlantic slave trade. The volume draws on two decades of research in four communities: Dzodze, Ghana; Adjodogou, Togo; and Perico and Agramonte, Cuba. In the ceremonies, oral narratives, and daily lives of individuals at each fieldsite, the authors not only identify shared attributes in religious expression across continents but also reveal lasting emotional, spiritual, and personal impacts in the communities whose ancestors were ripped from their homeland and enslaved. The authors layer historiographic data, interviews, and fieldnotes with artistic modes such as true fiction, memoir, and choreographed narrative, challenging the conventional nature of scholarship with insights gained from sensorial experience. Including reflections on the making of an art installation based on this research project, the volume challenges readers to imagine the potential of approaching fieldwork as artists. The authors argue that creative methods can convey truths deeper than facts, pointing to new possibilities for collaboration between scientists and artists with relevance to any discipline.
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Sharrad, Paul. South Pacific. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199679775.003.0011.
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This chapter focuses on the history of the South Pacific novel as a post-1950s phenomenon. Many Pacific writings from the early phase of literary production came in the form of ‘auto-ethnographic’ accounts of village life or the transcription of oral stories in which the separation of the writer is indicated often implicitly in the external viewpoint of the narrative and its use of formal English to depict a clearly non-Anglo world. To become a writer, one had to enter school, where he/she had to be acquainted not only with maths tables and alphabets but also new patterns of behaviour fitted to the subject position of ‘student’, disruptive of a traditional sense of communal identity. The chapter examines how literacy, with its ties to Western education, allowed Pacific Islanders to correct false representations of themselves in colonial adventure stories. It also shows that South Pacific fiction is imbued from the start with the vision of flux and fragmentation that is modernity, while contemporary shifts in Pacific identities due to the pan-Pacific diaspora and transnational networks have encouraged novelistic innovation in the increasingly pervasive print culture of a globalized Pacific.
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Isaac, Allan Punzalan. Filipino Time. Fordham University Press, 2021. http://dx.doi.org/10.5422/fordham/9780823298525.001.0001.
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Filipino Time examines how a variety of immaterial labor performed by Filipinos in the Philippines and around the world, while producing bodily and affective disciplines and dislocations, also generate and explore vital affects, multiple networks, and other worlds. Whether in representations of death in a musical or keeping work time at bay in a call center, these forms of living emerge from and even work alongside capitalist exploitation of affective labor. Affective labor involves human intersubjective interaction and creative capacities. Thus, through creative labor, subjects make communal worlds out of one colonized by capital time. In reading these cultural productions, the book traces concurrent chronicities, ways of sensing and making sense of time alongside capital’s dominant narrative. From the hostile but habitable textures of labor-time, migratory subjects live and weave narratives of place and belonging, produce new modes of connections and ways to feel time with others.The book explores how these chronicities are re-articulated in a capacious archive of storytelling about the Filipino labor diaspora in fiction, in a musical, in an ethnography, and in a documentary film. Each of the genres demonstrates how time and space are manifest in deformations by narrative and genre. These cultural expressions capture life-making capacities within the capitalist world of disruptions and circulations of bodies and time. Thus, they index how selves go out of bounds beyond the economic contract to transform, even momentarily, self, others, time, and their surroundings.
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Fein, Elizabeth. Living on the Spectrum. NYU Press, 2020. http://dx.doi.org/10.18574/nyu/9781479864355.001.0001.
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Autism is a deeply contested condition. To some, it is a devastating invader, robbing families of their children and sufferers of their personhood. To others, it is a form of neurodiversity, a fundamental and often valued aspect of identity that is more similar to race or gender than to disease states. How do young people coming of age with an autism spectrum diagnosis make sense of this conflict in the context of their own developing identity? The book addresses this question through sustained ethnographic engagement, informed by both clinical psychology and anthropology, within communities where people on the autism spectrum come together to live, learn, work, love, and play. Using an approach known as clinical ethnography, the book tracks neuroscientific discourses as they are adopted, circulated, and transformed among those affected by Asperger’s syndrome and related autism spectrum conditions. Dominant ways of talking about autism, whether as invasive disease or as hardwired neurogenetic identity, share a fundamental presupposition: that the healthy self is sharply bounded and destroyed if it is altered. However, the subjective experiences of youth on the spectrum exceed the limitations of these medical models. Reaching beyond medicine for their narratives of difference and disorder, these youth draw instead on shared mythologies from popular culture and speculative fiction to conceptualize their experiences of discontinuous and permeable personhood. In doing so, they also pioneer more inclusive understandings of what makes us who we are.
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Richards, Ronnie. “What’s Your Name, Where Are You From, and What Have You Had?”. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.18.
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This discussion considers the utopian/dystopian dialect in relation to Acid House culture in Leeds during the late 1980s. It utilizes an ethnographic, autoethnographic, and fictional/nonfictional narrative method to illustrate the key signifiers and relations of Acid House culture, including utopian ideals, social class, and the significance of geographical location. Overall the chapter serves to illustrate the significance of individual and group identities, the importance of embodiment and the changing intersection of social constructs such as class. Chas Critcher had defined Acid House as “no more that music associated with LSD,” but this chapter highlights the richly textured sense of feeling, space, place, and social relations that demonstrate Acid House was something much more than that. This chapter also has a direct association with the themes of agency, identity, meaning, and cultural appropriation.
Book chapters on the topic "Ethnographic narrative fiction"
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Rosenblum, Nancy L. "Narrative Threads." In Good Neighbors. Princeton University Press, 2016. http://dx.doi.org/10.23943/princeton/9780691169439.003.0003.
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This chapter introduces accounts of good neighbor and the democracy of everyday life in American literature. Settler, immigrant, and suburban portrayals demonstrate the centrality of this regulative ideal in people's moral imagination and in Americans' self-representation. Good neighbor as a facet of moral identity and as a collective American self-representation are rich composites created from an unprecedented and ever-increasing wealth of fiction, poetry, and memoir. The significance of these narratives is that they make particular places and moments in time vivid; they endow the subject with dimension. Like “thick” cultural ethnography, these narratives document what, in this place, anyone would do. Neighbors in literature as in life are driven to think about the ethics of their situation, but in fiction they think aloud.
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Barnes, Clive. "Call it Courage and the Survival of the Imperial Robinsonade." In Didactics and the Modern Robinsonade, 119–38. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620047.003.0005.
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This chapter argues that Armstrong Sperry’s Call it Courage cannot be considered a revisionist work of Robinsonade fiction (as it is sometimes interpreted) and that discussions of it in terms of postcolonial or feminist theoretical frameworks are limited precisely because of the text’s spurious ethnography. It also argue that Call it Courage is a particularly important example of a work of Robinsonade fiction whose didactic merit, ideological significance, and perceived value for young readers has changed over time. Ultimately, the chapter argues that Sperry’s narrative is a regenerated imperial Robinsonade in the guise of an indigenous Pacific Island tale, and that there is much to be suspicious of in the novel’s continued placement on North American school curricula.
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Levien, Michael. "Fictitious but Not Utopian." In Land Fictions, 26–43. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501753732.003.0002.
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This chapter traces the conversion of feudal land tenures into private agricultural property in the immediate post-Independence period, a subsequent phase of agricultural corporatism, and the recent subsumption of agrarian land into the current regime of urban rent-seeking. It clarifies the meaning and defends the utility of Karl Polanyi's conception of land as a fictitious commodity. Drawing on historical and ethnographic research into processes of land commodification and dispossession in rural northwest India, the chapter argues that Polanyi's conception of land as a fictitious commodity helps to explain why state action — including but not limited to dispossession — is an important mechanism for transforming land into a commodity. The chapter then reveals different configurations of state force were required to disembed land, first, from a feudal regime, then from the joint family, and finally from regulated agricultural developmentalism. Underlying each of these transformations were particular narratives of land's social function — as symbol of sovereign power, as grounds for productivist nation building, and ultimately as a source of foreign investment. The chapter employs this historical analysis to offer a sociological reconstruction of Polanyi's concept of fictitiousness, elucidating the unique challenges of commodifying land and the crucial role of extra-economic forces in the process.
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García-Liendo, Javier. "José María Arguedas’s Poetics of the Novel." In The Oxford Handbook of the Latin American Novel, C34.P1—C34.N35. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780197541852.013.34.
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Abstract This chapter studies José María Arguedas’s poetics of the novel focusing on Yawar Fiesta (1941), Los ríos profundos (Deep Rivers, 1958), and El zorro de arriba y el zorro de abajo (The Fox from Up Above and the Fox from Down Below, 1971). Antigenric coupling, a key characteristic of these works, is examined as Arguedas’s response to the challenge of narrating Peru’s historical transformation during the twentieth century, particularly the clash between indigeneity, traditional social relations, and capitalist modernization. Not a literary flaw but a deliberate formal decision, antigenric coupling refers to Arguedas’s use of multiple discursive genres (fiction, biography, history, ethnography, folklore, sociology, mythology, dance, music), avoiding fusing these genres into a single dominant narrative. This chapter maintains that Arguedas intentionally employs this formal manipulation to capture the multiple affective, epistemic, political, and cultural dimensions of a postcolonial country with a predominantly indigenous and rural population embroiled in an accelerating capitalist modernization.
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Caplan, Marc. "A Disenchanted Elijah." In Polin: Studies in Polish Jewry Volume 34, 406–30. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781800348240.003.0021.
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This chapter discusses S. Ansky's Destruction of Galicia (1920). The Destruction of Galicia is a travelogue, documenting Ansky's role in the Russian war effort. This chronicle stands as one of his most complex publications. While focusing on the physical destruction of Jewish communities and the variety of duplicitous, hostile, or ineffectual responses from non-Jews, its first-person account deploys literary strategies and embedded narratives that trespass the borders separating the conventions of journalism, political propaganda, and fiction. On these shifting borders between folklore and literature, Ansky emerges in The Destruction of Galicia not just as the foundational ethnographer of east European Jewry in the pre-war era, but also as the culture's most suggestive allegorist.
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King, Edward. "Photography as Anthropotechnique and the Legacy of Canudos." In Latin American Culture and the Limits of the Human, 256–78. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401490.003.0011.
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This chapter explores the ways in which Flávio de Barros’s photographic documentation of the war in Canudos (1896–1897) has become a conceptual prism through which to consider the role of photography in both the maintenance and contestation of biopolitical control in Brazil. The photobook Desterro (2014), a creative archive of a “fictional ethnographic” expedition to the site of the war led by artist Ícaro Lira, sets up a dialogue with De Barros’s photographs and their role in the violent foundations of the Brazilian Republic at the end of the nineteenth century. By incorporating these photographs into an assemblage of texts, objects, and images that includes narrative, photographs of the desert landscape surrounding Canudos as well as rocks gathered during the expedition, Desterro shifts the focus from photography as a biopolitical technology to its role in the displacement of anthropocentrism in favor of a perspective that privileges the human’s constitutive entanglements with the nonhuman. As well as an engagement with the legacy of De Barros’s photography, Desterro is also a meditation on the artist’s book itself, a form that draws on a number of photo-textual traditions (including ethnographic photography and traveller-artists’ books), in order to intervene into changing conceptions of the human.
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Scott, Walter. "Marmion." In Marmion, edited by Ainsley McIntosh, 9–286. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474425193.003.0001.
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Marmion is a medieval romance narrative, the action of which takes place in the forty days leading up to and including the Battle of Flodden. The plot is driven by the villainous deeds of the fictional English Knight Lord Marmion. Scott’s contemporary audience struggled to accept his flawed protagonist (a precursor of the Byronic anti-hero) and critics found the poem’s structure equally challenging. Each of its six cantos is prefaced by a verse epistle dedicated to one of Scott’s friends which addresses nineteenth-century events and personages. Today the verse epistles are arguably the most celebrated aspect of the text. A third, integral component is the substantial body of antiquarian and ethnographical notes that Scott appends to the poem. These notes have routinely been abridged or omitted in subsequent reprintings but are restored in full in the present volume.
Conference papers on the topic "Ethnographic narrative fiction"
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M. Ali Jabara, Kawthar. "The forced displacement of Jews in Iraq and the manifestations of return In the movie "Venice of the East"." In Peacebuilding and Genocide Prevention. University of Human Development, 2021. http://dx.doi.org/10.21928/uhdicpgp/1.
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The character of the Jew was absent from Iraqi cinematic works, while it was present in many Arab cinematic works produced in other Arab countries, and the manner of presenting these characters and the goals behind choosing that method differed. While this character was absent from the Iraqi cinematic narration, it was present in the Iraqi novelist narration, especially after the year 2003. Its presence in the Iraqi narration was diverse, due to the specificity of the Iraqi Jewish character and its attachment to the idea of being an Iraqi citizen, and the exclusion and forced displacement that Jews were subjected to in the modern history of Iraq. This absence in the cinematic texts is a continuation of this enforced absence. The Jewish character was never present in the Iraqi cinematic narration, as far as we know, except in one short fictional movie, which is the subject of this research. The research dealt with the movie “Venice of the East 2018” by screenwriter Mustafa Sattar Al-Rikabi and director Bahaa Al-Kazemi. We chose this movie for several reasons, some technical and some non-technical. One of the non-technical reasons is that feature cinematic texts rarely dealt with Jewish characters. The movie is the only Iraqi feature movie, according to our knowledge, produced after 2003, dealt with these characters, and assumed that one of them would return to Iraq. Therefore, our choice was while we were thinking of a research sample dealing with the personality of the Iraqi Jew and what is related to him and how it was expressed graphically. As for the technical reasons, it is due to the quality of the cinematic language level that the director employed to express what he wants in this movie, whose only hero is the character of the unnamed Jewish man played by the Iraqi actor (Sami Kaftan). As well as, many of the signs contained in the visual text that provide indications that may be conscious or unconscious of the situation of this segment of Iraqis, and this will become clear in the course of the research. 4 The research is divided into a number of subjects, including historical theory and applied cinema. The historical subjects included a set of points, namely (the Jews who they are and where they live) and (their presence in Iraq). The research then passed on the existence of (the Jewish character in the Iraqi narrative narrative), and how the Iraqi novelist dealt with the Jew in his novels after 2003, and does the Iraqi narration distinguish between the Jew and the Israeli or the Zionist. The applied part of the research followed, and included a (critical view of the movie) and then passed on the cinematic narration of events in the last subject (the narration of the cinematography). We studied the cinematic narration from three perspectives (cinematic shots, camera movement, camera angle and point of view), the research concluded with a set of results from criticism and analysis. It is worth mentioning that this research is an integral part of a previous unpublished study entitled (Ethnographic movie as artistic memory), which is an ethnographic study of the personality of the Jew in the Iraqi short movie.