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1
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.
Повний текст джерелаАнотація:
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.
2
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.
Повний текст джерелаАнотація:
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.
3
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.
Повний текст джерелаАнотація:
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.
4
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.
Повний текст джерелаАнотація:
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.
5
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.
Повний текст джерелаАнотація:
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.
6
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.
Повний текст джерелаАнотація:
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.
7
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.
Повний текст джерелаАнотація:
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.
8
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.
Повний текст джерелаАнотація:
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.
9
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.
Повний текст джерела
10
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.
Повний текст джерелаАнотація:
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.
11
Payne, Christopher N. "In/Visible Peoples, In/Visible Lands: Overlapping Histories in Wang Chia-hsiang’s Historical Fantasy." International Journal of Taiwan Studies 2, no. 1 (January 20, 2019): 3–31. http://dx.doi.org/10.1163/24688800-00201002.
Повний текст джерелаАнотація:
This essay considers two narrative texts by the nature essayist and fiction writer Wang Chia-hsiang (Wang Jiaxiang); namely, the short story ‘On Lamatasinsin and Dahu Ali’ (1995), and the short novel Mystery of the Little People (1996). Structured around ethnographic journeys into the Taiwanese mountainous hinterland, the texts concern the main protagonists, two earnest (Han) Taiwanese ethnographers, who narrate stories that traverse the island’s histories, lands, and written remnants. The paper argues that the two stories purposefully overlap multiple historical, colonial, and environmental encounters and temporal moments as a means to fictionalise the past as inherently heterarchical. The tales thus fabulise new literary spaces in which the Taiwanese relationship to yesteryear—the peoples, the lands—can be cognised alternatively.
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Rae, David. "A Narrative Study of Entrepreneurial Learning in Independently Owned Media Businesses." International Journal of Entrepreneurship and Innovation 3, no. 1 (February 2002): 53–59. http://dx.doi.org/10.5367/000000002101299042.
Повний текст джерелаАнотація:
This paper reports on the first stage of a two-year study exploring the learning experiences of the founders of four independently owned and growth-oriented businesses in the cultural media industry. The ventures include independent radio, marketing and design consultancy, Internet business development and cultural media retailing. The cultural media industry is a distinctive sector of growing economic importance, but the development of businesses within it and the acquisition of business and entrepreneurial skills by their founders are not well researched. Even the founders of successful businesses may not necessarily consider themselves to be entrepreneurs, as distinct from media practitioners, and the application of orthodox business and entrepreneurial theories developed in other sectors cannot be assumed to be valid in creative and media enterprises. This study adopts a social constructionist stance in seeking to develop new understanding of the emergence of learning as social practice, which may be shared through narrative accounts and interpreted as discourse. The four owners of media businesses are being followed through an in-depth longitudinal research study as they develop their business ventures and confront new challenges of managing growth and organizational change. Each is engaging in the research process by narrating and updating with the researcher an account of his or her learning experience in starting and managing the business. Their accounts form jointly authored, negotiated narratives that illustrate the development of entrepreneurial ways of working and the application of sense-making to produce ‘practical theories’ of action. The paper presents reflections on the research process after one year by selecting significant themes from the narrative accounts and relating these to theoretical and practical considerations of entrepreneurial identity and learning. To do this, it employs the literary medium of a short story in the ‘ethnographic fiction science’ genre, drawing on authentic speech material gathered during the research process. It explores the themes of identity in personal and social emergence, the negotiated enterprise, and the role of contextual learning in shaping practical theories of action.
13
Kotišová, Johana. "Creative Nonfiction in Social Science: Towards More Engaging and Engaged Research." Teorie vědy / Theory of Science 41, no. 2 (February 24, 2020): 283–305. http://dx.doi.org/10.46938/tv.2019.487.
Повний текст джерелаАнотація:
The paper aims at identifying, explaining and illustrating the affordances of “creative nonfiction” as a style of writing social science. The first part introduces creative nonfiction as a method of writing which brings together empirical material and fiction. In the second part, based on illustrations from my ethnographic research of European “crisis reporters,” written in the form of a novel about a fictional journalist, but also based on a review of existing social science research that employs a creative method of writing, I identify several main affordances of creative nonfiction in social-scientific research. In particular, I argue that creative nonfiction allows scientists to illustrate their findings, to express them in an allegorical way, to organize data into a narrative, to let their pieces of research act in the social world, and to permeate research accounts with self-reflexive moments. I also discuss some apparent negative affordances: challenges that creative nonfiction poses to readers and to the institutionalized academic discourse. Finally, I suggest that writing about sociological problems in the style of creative nonfiction can help to produce more engaging and engaged texts, and I discuss the ethical implications of the approach.
14
Brugidou, Jeremie, and Clouette Fabien. "‘AnthropOcean’: Oceanic perspectives and cephalopodic imaginaries moving beyond land-centric ecologies." Social Science Information 57, no. 3 (August 28, 2018): 359–85. http://dx.doi.org/10.1177/0539018418795603.
Повний текст джерелаАнотація:
We sought contributions from the widest possible spectrum, asking the authors to reflect upon the notion of ‘AnthropOcean’: theory, fiction, journal, ethological accounts, or ethnographic material from time spent at sea, testimony by those who have gained experience from the ocean, encounters with ocean inhabitants (no species preferred), etc. The aim is to build imagination and sensitivity upon these contributions in order to invent new narrative forms coherent with our contemporary experiences of an animated world. We would like to suggest that oceanic sensitive-anthropology can provide precious sense-ideas in order to think, feel and imagine the contemporary ecological crisis. Considering our present as anything but an ‘end of the world’, and more as a profound transformative process, how can ocean-sense-ideas bring useful intuitions? How can ocean inhabitants, ecosystems and dynamics, teach us a lesson in imagination? Can we dream other dreams than that of industrial exploitation?
15
Craig, Christy. "Reading identity: American and Irish Women’s book clubs, culture, and identity." Irish Journal of Sociology 27, no. 2 (February 13, 2019): 128–52. http://dx.doi.org/10.1177/0791603519828664.
Повний текст джерелаАнотація:
This research examines the role of reading and book club attendance in the lives of Irish and American women’s fiction readers who actively participate in women’s book clubs utilizing mixed methodology, including ethnographic observation, participation in book club meetings, and in-depth narrative interviews. Women in Ireland and the United States used reading to develop a sense of self and to learn about the social world, as well as to construct their own identities, often in contrast to expected norms of feminine identity. Women in Ireland utilized reading and book clubs to develop knowledge and understanding; women in the United States were influenced to increase their status in order to potentially secure or retain a high-status romantic partner. At the same time, important key themes relating to social positionality and social networks, capital development, and the construction of identity were similar and central to women in both cultural environments. Reading was deeply entrenched in the identities of the women in this study and attending book clubs allowed them to continue engaging literature, construct identities, and gain knowledge about the world around them.
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Jamili, Marzia, Brittany Nugent, and Dove Barbanel. "Unimaginable Dreams." Journal of Anthropological Films 3, no. 02 (October 21, 2019): e2823. http://dx.doi.org/10.15845/jaf.v3i02.2823.
Повний текст джерелаАнотація:
Written and directed by Marzia Jamili, a Hazara refugee now living in Sweden, Unimaginable Dreams is an auto-ethnographic essay film that traces Marzia’s last days in Athens, Greece. Blending documentary and fiction, Marzia casts her best friends to recreate magically real versions of her dearest memories of Athens as she delivers a cutting address to Afghanistan, in which she tells the sea about her broken homeland.
This film project seeks to demonstrate the possibilities of collaborative filmmaking as a methodology, particularly in response to the limitations of etic observational approaches in migration research and the lack of refugee voices in public discourse. Through reenactment and Marzia’s epistolary narrative, Unimaginable Dreams resurfaces notions of belonging and citizenship within the imagination, weaving together oneiric and real geographies situated in the past and future. Facing perpetual displacement and public erasure, the film medium offers a declarative space of visibility in Athens, where its maker articulates rights and desires denied by the state.
Unimaginable Dreams is the first production by the Melissa Network's Film Club, a collaborative program cofounded by Brittany Nugent and Dove Barbanel that challenges hegemonic representations of migrant women by empowering members to reclaim the gaze and create narratives of their own. A creative group of women from Afghanistan, Iran, Syria, Iraq, Kenya, Nigeria and Ethiopia share diverse perspectives to analyze their favorite movies, learn filmmaking skills and collaborate on original productions that add urgent personal nuance and depth to migration storytelling.
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Cooper, Alanna. "A SONG OF MOURNING FOR THE DISSOLVING JEWISH COMMUNITY OF SAMARKAND." Passages 2, no. 2 (2000): 208–20. http://dx.doi.org/10.1163/156916700745946.
Повний текст джерелаАнотація:
Abstract Before 1991, approximately 60,000 Central Asian Jews lived in Uzbekistan. When the Soviet Union collapsed in 1991, their centurieslong history in the region underwent dramatic changes. The lifting of emigration restrictions coupled with fear of economic chaos, political instability, growth of national movements and a rise in antisemitism, provoked massive Jewish emigration. Today, only about 4,000 Central Asian Jews remain in Uzbekistan. The others have emigrated primarily to the United States, Israel and Austria. The following piece is about the Central Asian Jews who still live in Samarkand, Uzbekistan's second largest city. Today, about one thousand—only ten percent of the city's former community—remain there. Those who have stayed have all watched while relatives and friends have packed their belongings, sold their homes and left the country. They have witnessed the community structure crumble and they have seen the city's old Jewish quarter been sold off, house by house, to outsiders. Today, they are each faced with the question: What is home and where is it now? The work is fiction, informed by an anthropological perspective. The narrative was woven from ethnographic data that I collected during field work among the Central Asian Jews in Samarkand.
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Radhay, Rachael Anneliese. "The politics of translating ethnographic ideoscapes the death and life of Aida Hernandez: a border story." Cadernos de Tradução 41, no. 2 (May 25, 2021): 45–65. http://dx.doi.org/10.5007/2175-7968.2021.e77054.
Повний текст джерелаАнотація:
The ecology of immigration discourse is an ideoscape in flux. It is a landscape constructed along human mobility, lifeworlds, ontological state security as well as along emotional and institutional complexities. There has been significant recent proliferation of border literature and ethnographies that represent narratives of migrants on the U.S-Mexico border. Ethnography as non-fiction literature documents border trajectories. This paper seeks to address how these trajectories are represented and or translated through a case study of the non-fiction work, The death and life of Aida Hernandez: a border story by Aaron Bobrow-Strain (2019) in which there is a distinct ecology in the ethos of ethnography and immigrant criminalization. This case study assesses therefore the relation between the politics of ethnographic ideoscapes, translation and agency based upon Critical Discourse Analysis (Wodak & Kollner, 2008; Wodak & Meyer, 2016) as well as evaluation and decision-making (Munday, 2012) when translating ethnography as a genre of represented voices.
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Thompson, Katrina Daly. "Fictive Fathers in the Field." Journal of Autoethnography 1, no. 3 (2020): 265–73. http://dx.doi.org/10.1525/joae.2020.1.3.265.
Повний текст джерелаАнотація:
Through my own narrative about my relationship with my fictive father in Zanzibar and the impact of this relationship on my research, in this autoethnographic essay I explore three themes: fictiveness, fatherhood, and the field. These themes tie together different aspects of the term “patriography,” linking them to ethnography and its subgenre autoethnography. Drawing on the term “patriography” as the science or study of fathers, I use the concept of “the field” to examine the impact of narratives about fathers on not only the field as a site of ethnographic research but also on the field of African cultural studies.
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Shevtsova, Anna A. "VISUAL IMAGERY OF THE CHUVASH SATIRICAL MAGAZINE “KAPKAN” AS AN ETHNOGRAPHIC SOURCE." Historical Search 1, no. 4 (December 25, 2020): 182–91. http://dx.doi.org/10.47026/2712-9454-2020-1-4-182-191.
Повний текст джерелаАнотація:
The Chuvash literary-fiction illustrated satire and humour magazine “Kapkăn” (“Kapkan”) was chosen as the object of research. Chronological framework of the study covers 1956–1991: published intermittently since 1925in Cheboksary (originally – as a literary appendix to the newspaper “Kanash”), in 1940 the magazine ceased to be published, its issuing was resumed only in 16 years. The rich post-Soviet history of “Kapkan” (its issuing was suspended in 2017) with a changed plot and imagery of the visual series is the topic of a separate study.
The broad narrative and figurative range of illustrations of “Kapkan”, their abundance and quality were determined by the fact that over decades of its fruitful work many masters of the genre who were famous outside the Republic and who were published in the central press, collaborated with the magazine, including publications in the “elder brother” of republican propaganda satirical publications – the subordinate edition of the newspaper “Pravda» – “Crocodile” magazine. The lack of studies on iconography of the Soviet period of the journal “Kapkan” determines the novelty of the research. The aim of the study is to determine the opportunities of using the visual imagery of the mentioned periodical as an ethnographic source and a source on the history of everyday life. The author considered the methods of content- and context-analysis as the most adequate ones in this case. Turning to such subjects as mismanagement, localism, nepotism, bribery, bureaucracy, artists give considerable food for thought to historians who study the problems of everyday life. The visual imagery of “Kapkan” of the postwar period makes it possible to study not only Soviet social problems through aspects of everyday life of an “ordinary Soviet man”, but classical anthropological subjects (kinship and connection by marriage, gift exchange, power, rites of transition, initiation, social experience passing, work ethic, etc.) as well. “Socialist in content”, the graphic art of the Chuvash caricaturists, was nevertheless sometimes “national in form”. At the same time, “Kapkan” did not too much work the pedals of purely national plots, did not strive for spectacular exoticism. The magazine which was published in the Chuvash language knew and understood its readers, their needs, their daily life. The emotional degree of illustrations to the “Kapkan” ranged from mild patronizing humor to hard-edged accusatory satire; it is important that the stated balance – humor and satire – in an uneasy and often ideologized environment was almost always maintained. A wide range of themes and subjects, the skill to combine graphic materials of different artists, professionals and amateur masters with their own creative manner deserve the closest attention of researchers.
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Aleksandrova-Osokina, O. N., and K. A. Vereshchagina. "Poetics of Book “Journey of Russian Imperial Sloop “Diana” from Kronstadt to Kamchatka ...” by V. M. Golovnin: Features of Documentary and Fiction Prose." Nauchnyi dialog 11, no. 10 (January 5, 2023): 177–94. http://dx.doi.org/10.24224/2227-1295-2022-11-10-177-194.
Повний текст джерелаАнотація:
Observations are presented on the features of the documentary and artistic organization of the book by V. M. Golovnin “Journey of Russian Imperial Sloop “Diana” from Kronstadt to Kamchatka...” (1819). Such issues as the thematic content of “Journey...”, the role of the author’s worldview in creating a single artistic whole, and the features of the aesthetic organization of documentary material are considered. The significance of the study is seen in the need to update the memory of the personality and literary work of V. M. Golovnin, an outstanding figure of Russian culture at the beginning of the 19th century. The presented material will allow supplementing with new facts the picture of the genre and style genesis of documentary and artistic genres in the Russian historical and literary process of the early 19th century. The relevance of the study is determined by the attention of modern literary criticism to the poetics of documentary and artistic genres. The novelty of the research is seen in the appeal to a little-known work of Russian literature of the first third of the 19th century. It is reported that the author showed the maritime way of life with its regulations, traditions, experience of intercultural communication. The work is considered in the main thematic lines: everyday life of a round-the-world sea expedition, seascape, battle studies, ethnographic sketches. It is noted that a value-semantic principle is revealed behind the empirical material, which gives the narrative artistic completeness and deeply brings Golovnin's “Journey ...” with the tradition of Russian classical literature.
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Zabiyako, Anna A., and Wang Yuqi. "The Image of the Perception of the Japanese and Japan in the Pre-Revolutionary Experience of Artistic Reflection: The Genre Aspect." Humanitarian Vector 17, no. 1 (February 2022): 19–28. http://dx.doi.org/10.21209/1996-7853-2022-17-1-19-28.
Повний текст джерелаАнотація:
The relevance of the research is determined by the interest of modern literary criticism in the imagological aspects and the problem of developing a research strategy in relation to this kind of texts. The novelty of the work is defined by the genre approach to the study of the image of perception of Japan and the Japanese in Russian pre-revolutionary literature dedicated to the events of the Russian-Japanese war, the introduction of previously unknown texts into scientific circulation, a comparative analysis of narrative strategies that determine the genre specificity of each text. The purpose of the work is to explicate the genre originality of works on the RussianJapanese war, which determines the perspective of the pre-revolutionary artistic reception of the image of perception of Japan and the Japanese in Russia. The methodology is based on an interdisciplinary approach that underpins the imagological paradigm of research. The authors rely on Russian and Chinese works on the history of Japan, Russian-Japanese relations, ethnography of Japan, ethnopsychology, religious studies, on the broad context of imagological research; apply historical-literary, comparative-historical, immanent analysis methods. The complex research is based on modern works concerning the problems of genre studies. The article traces the path of transformation of perceptions of Japan and the Japanese in Russian literature since the middle of the 19th century to the beginning of 20th century which is determined by the genre task of the works: from the first travelogues to the jingoistic notes in periodicals and further to “pacifist” fiction and post-war artistic experiences – the spy and detective text by A. I. Kuprin, the military diaries by V. V. Veresaev, a children’s ethnographic story by I. I. Mitropolsky. We conclude that the tragic and inglorious experience of the Russian-Japanese war pushed the horizons of not only the scientific comprehension of Japan and the Japanese by Russian scientists but also giving development to various genres of Russian literature opened the artistic possibilities of new ethnocultural and ethnopsychological experiences of self-knowledge of Russianness and Russians.
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Stock, Richard T. "Native storytelling and narrative innovation: Louise Erdrich's Love Medicine as fictional ethnography." Brno Studies in English 41, no. 1 (2015): 175–93. http://dx.doi.org/10.5817/bse2015-1-11.
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Sozina, Elena Konstantinovna. "“BETWEEN EUROPE AND ASIA.” ORIENTALIST NARRATIVES OF ALEXANDRA FUCHS: THE RHETORIC OF WRITING AND THE AUTHOR’S POSITION." Yearbook of Finno-Ugric Studies 14, no. 3 (October 2, 2020): 465–75. http://dx.doi.org/10.35634/2224-9443-2020-14-3-465-475.
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The article discusses ethnographic essays and novellas in the poems by Alexandra Andreevna Fuchs. The wife of a famous professor Karl Fuchs, she was resident of Kazan, hosted a literary salon, which was frequented by many local and visiting writers and poets, and met with Alexander Pushkin during his stay in the town. Alexandra Fuchs became the first Russian ethnographer writer; she purposefully traveled to places where the Chuvash, Mari (Cheremis), and Udmurts (Votyaks) lived, and wrote essays about the life, daily routine, manners and customs of these peoples drawing on her personal observations. Her essays took the form of letters and were often accompanied by response letters from her husband. They were published in the Kazan magazine Zavolzhsky Muravey [Zavolzhsky Ant], in the regional newspaper Kazanskie gubernskie vedomosti [Kazan Provincial Gazette], as well as in a number of separate books. The article analyzes the rhetorical peculiarities and author’s position of Alexandra Fuks’ essay writing. The analysis also involves ethnographic-fiction novellas (poems) by A. Fuchs, taken, according to her, “from the Tatar tradition”: ‘Princess Habiba’, ‘Founding of the city of Kazan’, a comment to which was written by her husband. These works fit into the tradition of the “Eastern novella”, popular in Russia since the eighteenth century. Depicting the exotic life of ancient Tatars and the peoples neighboring Kazan, Alexandra Fuchs sought to reconcile the orientation of the region to the East with the Orthodox-Imperial ideology which (in her view) was more advanced and progressive. Her sympathies as the author lay with female characters who contradicted traditional Muslim customs. Alexandra Fuchs’ essays and tales played a considerable role in awakening the interest of a Russian reader to the peoples of the empire, which preceded the mid-19th century rise of ethnography in science and literature.
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N, Rathnakumar. "Biographies of the Kuravars in Tamil Novels." International Research Journal of Tamil 4, no. 2 (February 7, 2022): 21–30. http://dx.doi.org/10.34256/irjt2223.
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Although realist novels in Tamil are largely colossal (Panjum Pasiyum, Malarum Sarugum, Thaagam) there is very little room for the minority race and are included in some parts of the novel. After the year of Two thousand, translation novels (Marathi) about tribes such as Lakshman Keikwat's Uchalia, Lakshman Mane's Upara, and Chandabai Kale's Kulathi changed the course of Tamil novels. The unbridled ethnographic biographies presented by these novels set the stage for other marginalized ethnic groups to come out of fiction, as well as the expansive boundaries of the Dalit novels. It is to be welcomed that the trend of writing novels focusing on the biographies of the Tamil ‘Kuravargal’ has developed in the Tamil context. Their cultural movements, such as the beliefs, rituals, diets, cults, habitat, and occupational crises of ethnic minorities, have begun to feature in recent narratives. In particular, Pandiyakkannan's novels Salavan, Malaipparai and Nugathadi can be read as doco- fictions. This article summarizes the center, format, and commentary of the novels.
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Johnson, Timothy Taulke. "Bystander Apathy – An Enquiry Into The Expression Of Humanity And Empathy In China (2013-2014)." Proceedings Journal of Education, Psychology and Social Science Research 1, no. 1 (November 22, 2014): 7–16. http://dx.doi.org/10.21016/icepss.14003.
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Aim To explore the apparent lack of personal concern for the welfare of others in China? To develop concepts to understand this social phenomena in natural settings using ethnographic and participatory research. Research Question How can the knowledge derived from qualitative research be used to improve the welfare of the poor in Shanghai? Ethics The study was carried out within the guidelines of the declaration of Helsinki. The study was characterised by anonymity, beneficence, non maleficence, and the maintainence of the dignity of participants Method Collection of data. The principle data source was “observation” spot observation”(Baksh 1990)”,participant observation”(Hammersley and Atkinson 1983)vignettes(Finch 1987,Sani Bin Gabi 1990), oral history(narrative) Conclusion The study was conducted ethically. It was a worthwhile study attempted to deal with current problems. The publication of this paper can be used to stimulate further enquiry into the problem of those in need of social welfare in Shanghai and China ,in the hope it will improve services where they are needed. Suggested solutions In a country where intergenerational family ties are so strong and “guanxi” exists it is paradoxical there is little empathy for others. Confuscian values ,changed family beliefs, and education at school and university may assist in increasing empathy . Learnt conditioning, to ignore or dissociate ,from another human being in need of help, can be slowly overcome by implementing universal and improved changes in societal living conditions. This can be achieved by improving social welfare programs, spearheaded by a compassionate government. There is a view that it is an egregious and transparent fiction, to promulgate and publically promote, the philosophies and policies of communism ,yet allow these curable social ills to remain. ”Rex ipsa Loquiter”.The healthy should help the sick,the rich should help the poor and the employed should help the unemployed ,Proportionately,in accordance with what they have they should give. The promotion of a “ forward thinking, humane , listening and open society ,rather than a closed, narrow ,opaque, inward looking “weltanschaung” would assist societal reform. We “bystanders”, we must all try to imagine we are in the place of those in need, and feel aas they do , in their situation. We must follow the advice of Mencius (372-289BC) and develop and use “empathy” As Mencius said,”a developed human heart is the basis of a moral life”
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Eddy, Zoë Antoinette. "Playing at the Margins: Colonizing Fictions in New England Larp." Humanities 9, no. 4 (December 14, 2020): 143. http://dx.doi.org/10.3390/h9040143.
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North American larping (live-action roleplaying) is a collaborative performance that encourages critical and creative engagement with cooperative, improvisational narratives. Nevertheless, larping often relies on problematic engagements with race and racial stereotypes. Like many gaming hobbies, larp uses the idea of a “playable race”. Unlike other gaming arenas, however, larping necessitates that players physically embody a character in order to participate in the collaborative narrative: larpers embody fictional races and engage in a complex form of “race play”. Within this context, non-Indigenous players frequently appropriate Indigenous cultural practices and mobilize racist stereotypes. This paper explores this phenomenon and its ramifications. Based on seven years of ethnographic fieldwork and community participation in New England larping communities, I examine how concepts of Indigenous identity manifest in New England larp. I explore both Indigenous and non-Indigenous perspectives in order to demonstrate (a) how fantastical play facilitates cultural appropriation and damaging “race play” and (b) how these spaces affect Indigenous players. I close with Indigenous perspectives on new possibilities for Indigenous larp projects and cultural reclamation.
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Davis, Christine S., and Jan Warren-Findlow. "Coping With Trauma Through Fictional Narrative Ethnography: A Primer." Journal of Loss and Trauma 16, no. 6 (November 2011): 563–72. http://dx.doi.org/10.1080/15325024.2011.578022.
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Davidov, Veronica. "‘Pedagogical’ and Ethnographic Fictions and Meta-narratives of Development:1 World Manga." Journal of Development Studies 49, no. 3 (March 2013): 398–411. http://dx.doi.org/10.1080/00220388.2012.724169.
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Ūsaitytė, Jurgita. "Reception of Folksongs in the Lithuanian Press of the National Revival." Tautosakos darbai 58 (December 20, 2019): 92–117. http://dx.doi.org/10.51554/td.2019.28393.
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The article discusses the folksong reception against the background of the Lithuanian press from the second half of the 19th – beginning of the 20th centuries. The analyzed material includes periodical publications of that time elaborating on various issues of the folksong tradition, and miscellaneous published sources of the folksongs. The author seeks to establish what kind of folksong notion was shaped and promoted in the public discourse represented by the Lithuanian intelligentsia that was actively involved in the movement of the national revival. Besides, the analyzed material is examined in order to find evidence from the society at large – whether it accepted the cultural notions presented by its enlightened part.The first part of the article contains a survey of the folksong publication tendencies. The author also attempts to grasp the impact that various folksong publications had on the oral tradition. The Lithuanian folksongs have been established in the written culture since the end of the 18th – beginning of the 19th century. Their first publications were meant exclusively for the educated readership and became relevant in esthetical or historical aspects in various scholarly works or fiction. However, prerequisites for the folksong publications to reach the third social estate (the Lithuanian peasants) formed only in the second half of the 19th century. During this time, distinct attempts from various social groups at reflecting on folklore became increasingly visible, thus marking a significant shift in the social self-consciousness, which was brought about by two important factors. One of them was the movement of the national revival that accommodated all the social groups of the Lithuanian population and emphasized the significance of the ethnic culture in the process of creating the modern nation. Active participants of this movement, the majority of which comprised the Lithuanian intelligentsia of peasant descent, recognized the folk poetry as the sign of Lithuanian national distinction. Another factor was the growing Lithuanian secular press, which actively shaped the public attitude towards folklore, at the same time effecting distinct changes in the folksong tradition as well.The folksong publications from the period in question (scholarly and popular collections, sparse or occasional publications in the periodicals, or instances of usage in the literary fiction and journalism) enhanced the relevance of the oral tradition in various ways: the folksongs enabled emphasizing the uniqueness of the Lithuanian culture, while their spread was aimed at popularization and revival of the folksong tradition itself.Another part of the article focuses on the different ways of reflecting on the folksong tradition. The public cultural discourse regarded folksongs as a particularly important heritage, emphasizing their significance as a historical, ethnographic, or linguistic source. Besides, adhering to the folklore interpretation pattern established from the end of the 18th century resulted in evaluation of folksongs according to the ethical and aesthetical criteria. The folksongs were used in order to define the Lithuanian national character, while their comparison with folksongs of other peoples served for the attempts at establishing the exceptional or superior nature of the Lithuanian culture. Similar arguments that had been used to prove the folksong significance served to foreground the importance of their collection: folksongs merited preservation as an important scholarly, historical and cultural source that ensured continuity of the Lithuanian culture.The intelligentsia was the first to favorably respond to the attempts at enhancing the importance of the folksong tradition. While the reaction of the broadest social masses towards the narrative of the high value of folksongs promoted in the public discourse manifested itself simply as their active involvement in the folksong collection – whether in response to the public claims voiced by the intelligentsia or in result of their inner cultural aspirations.
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Burley, Mikel. "“The Happy Side of Babel”." Method & Theory in the Study of Religion 29, no. 2 (May 25, 2017): 101–32. http://dx.doi.org/10.1163/15700682-12341384.
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Philosophers and other scholars of religion are increasingly recognizing that if philosophy of religion is to remain relevant to the study of religion, its scope must be expanded well beyond the confines of a highly intellectualized and abstract “theism.” Means of engendering this expansion include methodological diversification—drawing upon thickly described accounts of religious life such as those afforded by ethnographies and certain narrative artworks. Focusing on the latter, this article engages with the question of whether works of narrative fiction—literary or cinematic—candophilosophy of religion in ways that illuminate what D.Z. Phillips characterizes as the “radical plurality” of contemporary religion. Closely examining the examples of Dostoevsky’sThe Brothers Karamazovand especially Soyinka’sDeath and the King’s Horseman, my discussion is contextualized within broader debates over whether philosophy’s purpose is to advocate certain religious and moral perspectives or to elucidate those perspectives in more disinterested terms.
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Son, Nguyen Huu. "VAI TRÒ CHỦ THỂ TÁC GIẢ TRONG DU KÝ VIẾT VỀ TÂY NGUYÊN NỬA ĐẦU THẾ KỶ XX". Dalat University Journal of Science 11, № 3 (3 серпня 2021): 60. http://dx.doi.org/10.37569/dalatuniversity.11.3.881(2021).
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We introduce the travel literature written about the Central Highlands in the first half of the twentieth century and identify characteristics of the authors and the compositions in the context of history, culture, and contemporary journalism. Emphasis is placed on the role of the author's subject from the perspective of the narrative mode and narrative characteristics, such as witness accounts, storytelling in the first person, nonfiction and fictional literary relationships, mixed characteristics of genre content, the ability to integrate survey materials, fieldwork, records of geography, culture, ethnography, and customs. We assess the historical value of the travel literature and its contribution to anthropological awareness, culture, and literature.
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Muhr, Sara Louise, and Beate Sløk-Andersen. "Exclusion and inclusion in the Danish Military." Journal of Organizational Change Management 30, no. 3 (May 8, 2017): 367–79. http://dx.doi.org/10.1108/jocm-10-2016-0195.
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Purpose The purpose of this paper is to examine why and how past stories of women’s insufficiency for military work survive and how they come to form a gendered organizational narrative dominant in constructing current opinions on women in the military. Design/methodology/approach The analysis is based mainly on archival data, but supported by interview material as well as participant observation data. The authors do this from the assumption that the culturally constructed notion of the ideal soldier is based on a historically constructed professional narrative. Findings The authors show how a historically produced gender narrative – based on (fictional) stories on what women can and cannot do – is perceived as true and thereby casts women as less suitable for a military career. Thus, despite the current equal legal rights of men and women in the military, the power of the narrative limits female soldiers’ career possibilities. Originality/value The paper is unique as it, in drawing on archival data, is able to trace how an organizational narrative comes to be and due to its ethnographic data how this creates limitations for women’s careers. This narrative is stronger and much more powerful than management is aware of. The paper therefore adds crucial knowledge about the ideological influence a historically produced organizational narrative can have on current change initiatives.
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Dutta Ain, Anwesha. "A Reading of Satyajit’s Pather Panchali and Agantuk as Subtexts of Fictional Ethnography." Revista Canaria de Estudios Ingleses, no. 83 (2021): 77–90. http://dx.doi.org/10.25145/j.recaesin.2021.83.06.
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This essay focuses on Pather Panchali (Song of the Little Road, 1955) and Agantuk (The Stranger, 1991) and discusses the style of Satyajit Ray’s filmmaking which combined the aesthetics of European verisimilitude with suggestive symbolism based on conventional Indian iconography. The paper will concentrate on the authentic representation of a poor family in rural Bengal in Pather Panchali and the urban setting, in his last film Agantuk. The main aim is to explore how the detailing of the shots and the dialogues in these films engage in the ethnographic study of the Bengali society through these cinematographic fictional narratives
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Müller, Alain. "Der schmale Grat zwischen Realismus und Interpretation. Ein rekursiver Dialog zwischen „realistischem“ franko-belgischem Comic und Ethnographie." Zeitschrift für Empirische Kulturwissenschaft 2022 (December 2022): 51–77. http://dx.doi.org/10.31244/zekw/2022.04.
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This article questions and accounts for the collective management of “the relation to reality” among the amateurs – that is, the interpretative community of authors and readers – of so-called “realistic” Franco-Belgian Comics. My analysis aims at asking to what extent and in what ways this collective management, with its conventions and provisional agreements but also its tensions and controversies, can recursively inform ethnographic methods and theories as to their own collective management of “the relation to reality”. To do so, I examine how the narrative conventions of realistic Franco-Belgian Comics are rhetorically maintained through a tension between two dimensions, which are constantly negotiated among the amateurs of comics: a strong expectation that both the drawings and the storyline faithfully represent “reality” in giving a meticulous and meticulously documented account of “it” on one side, and an acceptance of the interpretative dimension inherent in creative and artistic representations on the other. Questioning the tradition of ethnographic realism in the recursive light of this analysis, I argue in conclusion that this tension pertains to an ontological misunderstanding, and plead for an articulation of ontological multiplicity, i.e., multiple relations to multiple realities, and for granting both fictional beings of comics and ethnographic beings their own modes of existence.
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Leonard, Karen. "Sandhya Shukla. India Abroad: Diasporic Cultures of Postwar America and England. Princeton, N.J.: Princeton University Press, 2003." Comparative Studies in Society and History 47, no. 3 (July 2005): 670–72. http://dx.doi.org/10.1017/s001041750524029x.
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Sandhya Shukla has written a highly interdisciplinary comparison of Indian diasporic cultures in Britain and the United States. Specializing in Anthropology and Asian American Studies, she is particularly strong on historical and literary text analysis. She says, “The relational aspects of a range of texts and experiences, which include historical narratives, cultural organizations, autobiography and fiction, musical performance and films, are of paramount importance in this critical ethnography” (20). Contending that the Indian diaspora confronts “a simultaneous nationalism and internationalism,” she is celebratory about India and “formations of Indianness,” and uses phrases like “amazing force” and “wildly multicultural” (17). Her exploration shows “the tremendous impulse to multiple nationality that Indianness abroad has made visible” (14) and, “the amazing persistence of Indian cultures in so many places” (22).
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Sass, Cara, Claire Surr, and Lorena Lozano-Sufrategui. "Expressions of masculine identity through sports-based reminiscence: An ethnographic study with community-dwelling men with dementia." Dementia 20, no. 6 (February 17, 2021): 2170–87. http://dx.doi.org/10.1177/1471301220987386.
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Background Despite increasing numbers of men living in isolation with dementia in the community, uptake of supportive interventions remains low. This may be because of limited availability of activities suited to men’s interests. One organisation reporting higher attendance from men is Sporting Memories, offering inclusive sports-based reminiscence and physical activities for men living with dementia. This study aimed to explore the impact of the Sporting Memories intervention on men living with dementia. Method This study was an ethnography employing techniques of participant observation, informal conversations and semi-structured interviews with group participants. Data were woven into a series of narratives using creative non-fiction, to bring life to the first-hand accounts of participants and experiences within a typical group setting. Findings The groups provided an environment for men with dementia to explore, reflect upon and reinforce their masculine identities through the subject of sport. Physical activities further facilitated this embodied demonstration for some, although this was not a feature of all sessions. Conclusions The content of Sporting Memories group sessions provides a vehicle for men to retain an important aspect of personhood. They also hold the potential to present opportunities for men to feel a sense of value by contributing to sessions in varied ways. Facilitators and volunteers require support and training to ensure this benefit is maintained.
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Dey, Ishita. "Who Owns Bogurar Doi? An Ethnography of Placemaking and Craftsmanship in Bangladesh." Gastronomica 22, no. 3 (2022): 35–45. http://dx.doi.org/10.1525/gfc.2022.22.3.35.
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Through an ethnography of Bogurar doi, a sweetened fermented milk dessert distinctive to the northern region of Bangladesh, I propose to explore the politics of naming of a food item linked to a place, especially in a geography that has witnessed three historic redrawings of borders, forced migration, and the changing form of labor involved in doi-making. Instead of the narratives of continuity of craft traditions, I trace three significant “movements” (West 2022) that are integral to Bogurar doi: (1) a history of “local” breeds of cows is produced by confluences (Banerjee-Dube 2016), thereby challenging notions of territoriality and taste-making (Leong-Salobir, Ray, and Rohel 2016); (2) a history of labor integral to doi-making, that of Goalas/Ghoshs, evident in the fictional representation of undivided Bengal and legends associated with Bogurar doi; and (3) everyday narratives of “repetition” (Sennett 2008) that is inherent to bodily labor performed on milk to create this microbial product. These three movements show how placemaking evolves at the cusp of ecology and changing forms of caste and labor associated with the milk trade. Taken together, these three movements challenge the mythic notion of continuity and provide a much-needed reading of ruptures and a processual reading of decolonization of placemaking in food traditions.
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Smith, Robert. "Assessing the contribution of the ‘theory of matriarchy’ to the entrepreneurship and family business literatures." International Journal of Gender and Entrepreneurship 6, no. 3 (September 2, 2014): 255–75. http://dx.doi.org/10.1108/ijge-06-2011-0061.
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Purpose – The purpose of this paper is to assess the contribution of “Matriarchy” to the entrepreneurship and family business literature. The literature on gendered aspects of entrepreneurship is expanding and maturing in its level of theoretical sophistication and subject coverage. At the same time, our nuanced understanding of how gender influences entrepreneurial action also expands, as does our appreciation of how men and women do entrepreneurship. It is widely acknowledged that although the theories of entrepreneurship and small business are cognate literature, entrepreneurship has primacy. The heroic male entrepreneur is the master narrative against which we measure other forms of entrepreneurship. The role played by wives, partners, family and employees is often left unstated. In our eternal quest to theorise and explain entrepreneurial action in its entirety, we seldom consider the explanatory power of the sociological theory of “Matriarchy”. Consequentially, in this theoretical paper, we present and discuss several important aspects of the theory which are applicable to our understanding of the diverse nature of gendered enactment within entrepreneurship and small business in which entrepreneurship provides the action to be measured and small business, the setting in which it is encountered. The work primarily concentrates on the theoretical aspects of Matriarchy as well as building upon the extant literature of entrepreneurship, gender and small and family business. Design/methodology/approach – The literature on Matriarchy is presented and analysed in conjunction with appropriate texts from the above literature. The readings help construct a theoretical framework which is tested against narratives of Matriarchial figures encountered via research and written up using retrospective ethnography. This unusual qualitative methodology allows the author to test and develop the utility of the theoretical framework. The resultant narratives and vignettes are both illuminating and enlightening. Findings – The stories of the Matriarchs illustrate how gender differences impact upon entrepreneurial identities and the everyday practicalities of doing business. While the male head of the family may be the titular business owner, many privately defer to the Matriarchal voice which acts as a positive driving force in business, binding a family together. Research limitations/implications – The theory of Matriarchy offers another powerful explanatory variable in how gendered relationships influence entrepreneurial identities and in making the theory the focal point, we can avoid some of the common assumptions we make when we concentrate on entrepreneurship as the key variable. In perpetuating heroic entrepreneurial narrative as success stories, we as the ultimate consumers of such socially constructed fiction are also complicit. This article, therefore, has the potential to influence how we as authors of such narratives narrate stories of women in family business. Originality/value – The paper challenges the universality of traditional renditions of family businesses as entrepreneur stories. It re-examines and challenges accepted wisdom building up a discussion, which confronts accepted theories of entrepreneurship and family business.
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Brugidou, Jeremie, and Fabien Clouette. "Three times in the wake: A narrative experience of sensory-anthropology in oceanic outer-places." Social Science Information 57, no. 3 (June 8, 2018): 432–47. http://dx.doi.org/10.1177/0539018418780357.
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Three times thrown into the wake of ocean incursions. Three times brutally awakened. A semi-fictional anthropologist stumbles in media res upon three different depths or decompression stops, of res in media: (a) at several thousand metres below sea level in a nuclear submarine; (b) at sea level on a fishing trawler; and, finally, (c) deep blue diving at night along a safety line guiding military rescue divers towards a sunken trawler. This is both an essay in individuation and an exploration of associated milieus, inspired by a body of work concerning social constructs of the sea, ocean biopolitics and the oceanization of thought. However, rather than building through theory, we chose to compose through storytelling and body experiment, using interviews and ethnographic materials we collected in 2016. Part dream state, part insomnia, part night work, the narrative deals with our increasingly industrialized mode of existence, affecting our sensory relations to ‘environments’ such as the ocean, but also our sleep and ‘attention’, and the relevance of the ‘anthropocene’ once at sea. Is there anything left of the ‘human’ or the ‘(s)cene’ (terrestrial paradigm) in the movements of the swell and the darkness of the deep?
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McBratney, John. "RACIAL AND CRIMINAL TYPES: INDIAN ETHNOGRAPHY AND SIR ARTHUR CONAN DOYLE'STHE SIGN OF FOUR." Victorian Literature and Culture 33, no. 1 (March 2005): 149–67. http://dx.doi.org/10.1017/s106015030500077x.
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IN THE NINETEENTH CENTURY, scientific taxonomies shaped fictional narratives in highly ambiguous ways. On the one hand, novels–to take the predominant literary genre of the time–invoked the language of science to lend their structures the authority of those models of rationality that seemed to provide the most credible explanations of the observable world. Quite naturally, the project of realism, in its search for verisimilitude, drew upon those explanatory schemas that seemed to offer the closest simulacra of the real. Yet the novels of the period also resisted the authority of the scientific discourses they incorporated. If scientific taxonomies tend toward aggregation–in other words, the fitting of newly discovered forms within classificatory systems of previously known structures–novels, it can be argued, tend toward disaggregation, the resistance of individual characters to those social categories that seek to contain them.
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Fathallah, Judith. "Digital fanfic in negotiation: LiveJournal, Archive of Our Own, and the affordances of read–write platforms." Convergence: The International Journal of Research into New Media Technologies 26, no. 4 (October 30, 2018): 857–73. http://dx.doi.org/10.1177/1354856518806674.
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Fanfic is the unauthorized rewriting or adaptation of popular media narratives, utilizing corporately owned characters, settings and storylines to tell an individual writer’s own story. It is often abbreviated to fanfic or even fic and exists in a thoroughly grey legal area between copyright infringement and fair use. Although there were a few cases of cease-and-desist letters sent to fan writers in the 20th century, media corporations now understand it is useless to attempt to prosecute fanfic writers – for one thing, there are simply too many of us and for another it would be terrible publicity. Although modern fanfic can be reliably dated to the 1960s, it is now primarily an online practice and the fastest growing form of writing in the world. This article uses participant observation and online ethnography to explore how fanfic archives utilize digital affordances. Following Murray, I will argue that a robust understanding of digital read–write platforms needs to account for the social and legal context of digital fiction as well as its technological affordances. While the online platform LiveJournal in some ways channels user creativity towards a more self-evidentially ‘digital’ text than its successor in the Archive of Our Own (AO3), the Archive encourages greater reader interactivity at the level of archive and sorting. I will demonstrate that in some ways, the AO3 recoups some of the cultural capital and use value of print. I argue that a true appreciation of digital fiction is less about projecting fiction as becoming more and more ‘digital’ along a linear trajectory than application of a nuanced sociotechnological perspective that addresses the aims, ideology and provision of particular platforms in practice.
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Duffill, M. B. "Hausa Poems as Sources for Social and Economic History." History in Africa 13 (1986): 35–88. http://dx.doi.org/10.2307/3171536.
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In his foreword to Neil Skinner's first volume of translations of Frank Edgar's collection of Hausa folk stories, M.G. Smith made the following observations on the historical and sociological value of the collection:“…to students of Hausa culture and history, [Edgar's collection] provides a comprehensive body of diverse materials, much of which being explicitly fictive, is of great ethnographic significance as a projection of Hausa attitudes and practice on to other planes. Together these texts, descriptive and narrative, supply rich first-hand materials on Hausa institutions, inter-ethnic relations and social stratification, supplementing such standard sources as the Kano Chronicle and other Emirate histories, and presenting with insight and economy the characteristic failings, virtues and orientations of Hausa differentiated by rank, sex, age and circumstance. Directly, and in narrative obliquely, the texts also present many insights into Hausa values, beliefs and social orientations. As documents that transmit the flavour of Hausa life and the background of individual experience, they have few rivals.”It seems appropriate to refer to Smith's observations at the start of this examination of three Hausa poems since, in my opinion very similar observations could be made about the materials in several collections of Hausa prose and poetry made by a number of German scholars in the late nineteenth and early twentieth centuries, from one of which the three poems discussed in this paper originate.
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Tolliver, Joyce. "Savage Madonnas: ’La mujer filipina’ in the Nineteenth-Century Colonialist Imaginary." Letras Femeninas 41, no. 2 (November 1, 2015): 21–34. http://dx.doi.org/10.2307/44735027.
Повний текст джерелаАнотація:
Abstract The fiction of a national Spanish "family" that embraced the inhabitants of its "overseas provinces" was promulgated insistently in nineteenth-century colonial discourse. The fragility of this fiction was demonstrated dramatically in writings about the Philippines by peninsular Spaniards, as they tried to reconcile the profound cultural, linguistic, and ethnic heterogeneity of the archipelago with the notion of biological and cultural filiation. In his 1886 painting España y Filipinas, the Philippine reformist artist Juan Luna allegorically portrayed Spain and the Philippines as matron and racialized adolescent, suggesting that the Philippines’ future depended on its mestizo population. In the same year, Faustina Sáez de Melgar imagined both the Philippines and the Americas as "nuestras hijas" in her anthology of costumbrismo sketches, Las mujeres españolas, americanas y lusitanas pintadas por sí mismas. The volume’s title evoked a fantasy of feminine agency belied by the fact that virtually none of the sketches were written by a member of the "type" portrayed; and that the volume was illustrated not by a woman but by Eusebio Planas, known for his eroticized sketches of women. Josefa Estévez, a peninsular Spaniard, contributed the essay on "La filipina," in which she distinguished sharply between the Christianized populations of the archipelago and the non-Christianized "salvajes." Rather than contributing an ethnographic study of the "savage" tribes, Estévez represented this "tipo" through two narratives of sexual brutality and conquest. Both narratives suggested that the social structure of the non-Christianized colonial Philippine populations was not only untenable but unimaginable: the only moral compass available to these populations was to be found in female instincts of maternity and heterosexual love, which were ineffective against the uncontrolled instincts of lust and rage that guided both native and Spanish male characters. Estévez’s conventional invocation of the power of Christianization rings hollow in the face of her portrayal of the sexual opportunism, abuse and abandonment suffered by the native woman at the hands of the putative father of the colonial family. Ultimately, in both Estévez’s text and Planas’s illustrations, "civilization" through mestizaje in the Philippines is portrayed as impossible.
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Chaberski, Mateusz. "Counterfactuality as a Polyphonic Assemblage. Entangled Human and Nonhuman Stories of Early Modern Sciences in Neal Stephenson’s The Baroque Cycle." Art History & Criticism 14, no. 1 (December 1, 2018): 110–21. http://dx.doi.org/10.2478/mik-2018-0010.
Повний текст джерелаАнотація:
Summary In recent science-fiction literature, we can witness a proliferation of new counterfactual narratives which take the 17th century as their point of departure. Unlike steampunk narratives, however, their aim is not to criticise the socio-political effects caused by contemporary technological development. Such authors as Neal Stephenson or Ian Tregillis, among others, are interested in revisiting the model of development in Western societies, routing around the logic of progress. Moreover, they demonstrate that modernity is but an effect of manifold contingent and indeterminate encounters of humans and nonhumans and their distinct temporalities. Even the slightest modification of their ways of being could have changed Western societies and cultures. Thus, they necessitate a rather non-anthropocentric model of counterfactuality which is not tantamount to the traditional alternative histories which depart from official narratives of the past. By drawing on contemporary multispecies ethnography, I put forward a new understanding of counter-factuality which aims to reveal multiple entangled human and nonhuman stories already embedded in the seemingly unified history of the West. In this context, the concept of “polyphonic assemblage” (Lowenhaupt-Tsing) is employed to conceptualize the contingent and open-ended encounters of human and nonhuman historical actors which cut across different discourses and practices. I analyse Stephenson’s The Baroque Cycle to show the entangled stories of humans and nonhumans in 17th century sciences, hardly present in traditional historiographies. In particular, Stephenson’s depiction of quicksilver and coffeehouse as nonhuman historical actors is scrutinized to show their vital role in the production of knowledge at the dawn of modernity.
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Illman, Ruth. "Embracing complexity: the post-secular pilgrimage of Eric-Emmanuel Schmitt." Scripta Instituti Donneriani Aboensis 22 (January 1, 2010): 228–43. http://dx.doi.org/10.30674/scripta.67369.
Повний текст джерелаАнотація:
This article deals with the phenomenon of pilgrimage as a personal transformative process; an exploration of spiritual space rather than a journey undertaken to a physical place. The analysis focuses on the life story and authorship of the novelist and playwright Eric-Emmanuel Schmitt (b. 1960). Schmitt began his career as an academic philosopher specialised in enlightenment rationality. A mystical experience in the deserts of Sahara, however, opened his eyes to the spiritual dimensions of reality and encouraged him to redirect his professional strivings from academic writing to fiction. Today, Schmitt has reached a world-wide audience with his plays and novels on interreligious dialogue, especially the series of five short novellas called Le cycle d’Invisible. These narratives all deal with inter-religious encounters in a complex and compassionate way as Schmitt is particularly concerned with preserving the mystery of the situations he describes. The atheist conviction of his previous life has thus given way to an agnostic and mystically inspired world view focusing on diversity, divinity and inexplicability: “I am obsessed with complexity”, as he puts it himself. The presentation is based on ethnographic material, and key themes to be addressed include pilgrimage as a spiritual journey, interreligious encounters and mystical experiences.
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Staples, Jeanine M. "The revelation(s) of Asher Levi: An iconographic literacy event as a tool for the exploration of fragmented selves in new literacies studies after 9/11." Qualitative Studies 2, no. 2 (October 3, 2011): 79–97. http://dx.doi.org/10.7146/qs.v2i2.5511.
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This article considers the dynamics of an iconographic literacy event that functions as a tool for explorations of literacy practices and fragmented selves, particularly in relationship to the literate lives of marginalized individuals in the post 9/11 era. The author examines what happened when a group of 10 African American women in an urban area employed new literacies in the teaching/learning spaces of their personal lives (i.e. individual homes, familiar eateries, communicative digital technologies) to explore and respond to stories in post 9/11 popular culture narratives. The study employed ethnographic methods (interviews, journaling, email and instant message writing and critical observations) with members of the inquiry over the course of two years. The author investigated critically the meeting of biography, fiction and autoethnography as a literacy event used to couch the literacies and fragmented selves of these women in the post 9/11 era. Findings regarding the nature of their post 9/11 literacies, as expressed through fragmented selves, are shared, along with implications for new literacies research and teaching. Findings show that the women’s post 9/11 literacies include a range and variation of critical sensibilities that include, but are not limited to, multiple levels of sociolinguistic integration, sociocultural criticality and heightened awarenesses.
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Garcia, Antero. "Chapter 1: “I piss a lot of people off when I play dwarves like dwarves”: Race, Gender, and Critical Systems in Tabletop Role-Playing Games." Teachers College Record: The Voice of Scholarship in Education 123, no. 13 (April 2021): 1–26. http://dx.doi.org/10.1177/016146812112301302.
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Background This chapter explores player interactions and engagement in tabletop role-playing game settings. Objective Particularly focusing on the intersection of gaming systems, virtual settings, and player interactions, this chapter seeks to explore how implicit systems shape individuals’ experiences and behaviors. Through this focus, the chapter intentionally draws parallels between informal gaming settings and classroom-based interactions. Setting Though this study makes specific connections to classroom pedagogies, data were collected from a multiyear ethnographic study of playing tabletop role-playing games with adult participants in informal learning environments. Data were collected from within public gaming cafes and shops. Research Design Participant observation within a role-playing game community served as the primary approach to this ethnographic study. In addition to fieldnote-based observation, interviews with players and archival analysis of gaming artifacts helped triangulate meaning-making at the gaming table. Analysis was conducted through an inductive coding approach that focused on player interactions, systems, and settings. Findings Cultural values, including racism and sexism, shaped player experiences at the table, based on systemic designs and textual guidance from game-related fiction. While games speak to broad possibilities for exploring race and gender, these constructs become limited through the layers of player beliefs, designed rule sets, and depictions within narratives. The emancipatory possibilities of ludic imagination are flattened by cultural norms that may oppress. Conclusions Broadening the findings from this study, this chapter concludes with classroom-based recommendations. If a contemporary approach to critical pedagogy depends on dialogue and cultural understanding, this chapter points to the limitations of confining such work to traditional classroom settings. Instead, it suggests that an interrogation of these systems, alongside youth, is a necessary step in critically oriented classrooms.
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Arzamazov, Alexey A. "Face to Face with Everybody: Fictional World of the Forest Nenets Yuri Vella." Studia Litterarum 5, no. 3 (2020): 290–307. http://dx.doi.org/10.22455/2500-4247-2020-5-3-290-307.
Повний текст джерелаАнотація:
Creative work of the Nenets poet Yuri Vella occupies a special place in the literary community of the peoples of Russia. On the one hand, it fits into the main paradigms of the development of national literatures at the turn of the 20th–21st centuries (rapid increase of the dominance of the Russian language in the ethnohumanitarian environment; urbanistic motivic and figurative cluster; the relevance of the environmental topics; representative value of social narratives; a high level of ethnographic writing, etc.). On the other hand, Vella’s poems highlight one of the possible trajectories of the poetic traditions of the peoples of Russia in the near future (increased significance of the free verse; increased attention to ethnolinguistic “ornamentation” of texts; expansion of the visual component in the structure of the book; coexistence of different languages under one cover). The life and poetry of Yuri Vella confirm that the most important catalyst for the development of national literature is the author’s own active and creative personality. At the same time, the study of Yuri Vella’s work has interest in the context of broader studies of the national literature of the peoples of the Far North and its current state.
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Golubkov, Andrey V. "Paving the Road to the Historical Novel: “Les Histoires Secrètes” in France at the Turn of the 17th and 18th Centuries." Studia Litterarum 5, no. 4 (2020): 88–101. http://dx.doi.org/10.22455/2500-4247-2020-5-4-88-101.
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This article examines the genre of “secret history” which gained widespread currency in France after the publication of the book Anecdotes of Florence: or, A Secret History of the House of Medici (1685) by Antoine de Varillas. The preface to the book gives an overview of the theory of the genre that welcomes representation of hidden, sometimes “dishonorable” or “insignificant” premises of important events, usually ignored by official historiographers who tend to focus on the façade of their protagonist’s life. Authors of such “secret” stories are advised to use gossips obtained from the “royal” circles and find their way into the studies and bedrooms hidden from the eyes of the others. The article shows the impact that elements of Varillas’s poetic style (ethnographic flair, the topoi of bedroom and “cabinet,” focus on the human body etc.) had on the texts of “secret” memoirs and notes by François-Paulin Dalairac, Esaias von Pufendorf, Madeleine-Angélique de Gomez, and others. A more detailed interpretation demonstrates how historical narrative degraded into fictional prose and in many respects anticipated — together with other sources analyzed in the article — a formula of the historical novel a la Walter Scott.