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- Convenors:
-
Emma Tarlo
(Goldsmiths)
Alpa Shah (LSE)
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- Stream:
- Who Speaks and for Whom?
- Sessions:
- Wednesday 31 March, -
Time zone: Europe/London
Short Abstract:
What are our responsibilities in writing as anthropologists in 2020 and beyond? How do we navigate the multiple conflicting pressures within academia and the volatile environment outside it? Who are our audiences? How do we reach them? If writing differently is sometimes risky, who incurs the risk?
Long Abstract:
What are our responsibilities in writing as anthropologists in 2020 and beyond? Why and how should we keep writing? Who are our audiences? How do we navigate the multiple conflicting pressures within and outside the academy? On the one hand, we are being asked to prove our public engagement and impact whilst often writing about things which raise complex issues regarding ethics and confidentiality. On the other hand, we are subject to different academic evaluation criteria for job applications, tenure, promotions and REF. What role do different forms of writing in anthropology play in an increasingly volatile landscape both within and outside academia? What, if anything, is distinctive about anthropological writing? Should it engage or merge with other forms of writing such as poetry; fiction; blogs; journalism; creative non-fiction? What are the consequences of writing in different genres and writing with and for different audiences? If such an enterprise is risky, who incurs the risks? What happens when anthropological knowledge takes on new forms, enters new spaces of circulation and becomes amplified, silenced or contested in unexpected ways? What should be the responsibilities of institutions and departments of anthropology in nurturing and protecting different forms of writing in the discipline? We invite those who have experience-based reflections on these issues to join our panel.
Accepted papers:
Session 1 Wednesday 31 March, 2021, -Paper short abstract:
To experiment with genre is to disturb canons of truth. Drawing on the experience of writing two narrative ethnographies for non-specialist as well as academic audiences, I explore what this hybrid genre entails, its claim to enhanced realism, and its peculiar demands on readers and writers alike.
Paper long abstract:
In a throwaway remark near the end of his life, Edmund Leach dubbed ethnographers failed novelists. What might that mean? Ethnographies and novels are alike in size, scope, and ambition, each a failed version of the other. In their aspiration to totality (Thornton’s ‘rhetoric of holism’) ethnographies are fictions. In their real-world reference, their placing of persons in situations, novels are ethnographic. Questions of credibility and verisimilitude haunt both genres - a complicated relation to truth that doesn’t trouble the exact sciences. Fiction and fieldwork are entries into other worlds; but their products are also verbal microcosms, simulacra, self-contained worlds made of words. As reports on experience, they make different demands of readers. A hybrid genre of narrative ethnography, as pursued in my After the ancestors (2015) and A shadow falls (2009), draws on techniques of fiction - plot, characterisation, time-depth, manipulation of point of view; above all, a different weighting of foreground and background - to deliver an account of fieldwork arguably closer to the ethnographer’s experience and with greater fidelity to the lives of others. Storytelling as enhanced realism.But who is it for? How can it be done? With what gains and losses? In this paper I reflect on the literary and ethnographic challenges of narrative ethnography, the problems of writing for non-specialist audiences, and the truth claims of rival approaches. I suggest that narrativity is inherent to human experience, permeating the emotional life (cf. Emotional Worlds 2019). Narrativity should be at the heart of ethnographic writing.
Paper short abstract:
Examines the scholarliness and significance of the narrative history genre in recovering the significance of a Native American anthropologist, Peter Wilson, and the revolution he led in 1848 when ‘the warriors’ of his people overthrew corrupted ‘chiefs’ and formed a republic in upstate New York.
Paper long abstract:
Writing through the lens of character; of individuals and their unfolding loves, predicaments and strifes in ‘popular’ ways is sometimes contrasted with more scholarly approaches. It is ‘popular’, however, for the very reason that social life is about reading and projecting character and emotion as much as it is about structure and discourse. Social life is about, fear, hatred, pleasures &c. however these are inscribed into our lives. Words such as ‘visceral’ or ‘desire’ or ‘pleasure’ that increasingly pervade our texts and that are configured in relation to ‘embodiment’ are always trying to get at some of this, but they are concepts that never quite meet their own ambitions, deadened words that do not capture the living. Do we not all sometimes feel, instead, that it is the best of the novelists and playwrights emergent from the very worlds that anthropologists have hitherto presumed to study that best capture the way capital and debt, culture and death, actually shape and transform social lives? As these genre have developed, are they simply about ‘entertainment’? Or are they increasingly powerful tools to convey social worlds that we, too, should embrace more seriously? This paper reflects on the reach, scholarliness and significance of this genre for my current research that recovers for our discipline the significance of a Native American anthropologist, Peter Wilson, and the revolution he led in 1848 among his own people in which ‘the warriors’ overthrew ‘chiefs’ corrupted by land speculators, and established a republic in upstate New York.
Paper short abstract:
This paper explores the perils and possibilities of writing new forms of anthropological non-fiction. It suggests that questions of responsibility are central not only to how and for whom we write but also for how we engage with our readers in the aftermath.
Paper long abstract:
Anthropologists, like other academics, are expected to prove their impact on the world beyond academia whilst at the same time satisfying the expectations of the discipline. One way of bridging these contradictory demands is through developing new forms of anthropological non-fiction which pay less attention to satisfying scholarly conventions and more attention to the art of writing and politics of readability. But in making anthropological writing more widely accessible, we also risk losing control of the subtlety of the arguments we try to make. In this paper I ask what happens when anthropological writing enters into new spaces of circulation where it risks becoming transformed, re-appropriated and manipulated in unexpected ways. Tracing the complicated afterlives of the book Entanglement: The Secret Lives of Hair, I explore the perils and possibilities of such writing as it enters the volatile echo chambers of social media and becomes repurposed by different groups to different ends. I ask how responsible are we as anthropologists and authors for the afterlives of the books we write? I explore how questions of responsibility are central not only to how and for whom we write but also for how we engage with our readers in the aftermath.
Paper short abstract:
What do anthropologists and their friends expect of each other? They undertake mutual responsibilities, changing each other’s lives in unpredictable ways. These feed into diverse genres of monographs and long-term cultural and linguistic documentation, in which responsibilities continue to evolve.
Paper long abstract:
What do anthropologists and their friends expect of each other, and give each other? Anthropologists parachute into the lives of others, who somehow undertake to keep them alive, while both sides take risks, elicit personal narratives and prompt unprecedented reflections. The Sora “tribe” in India and the nomadic Eveny reindeer herders in Arctic Siberia both have difficult relations with the state. I shall analyse some key incidents or processes in which we have changed each other’s lives amidst rupture, continuity, reparation and intergenerational tension. Such episodes are themselves an index of history, but it is hard to sense at the time what everyone’s responsibilities will be decades later. They feed into different genres of writing, each reaching out to wider theories of humanity or to local agendas. Local people may use their anthropologists to bear witness to their suffering, to intervene with authorities, to fund funerals, to provide amusement... Most of this is at a tangent from our anthropological monographs. I shall explore the twists and turns of my relationship with a close friend who pioneered his people’s conversion from shamanism to Christianity, then helped me to understand the shamanic texts he no longer “believed” in, and finally used my notes and recordings to establish a fertile, generative record of the old culture, to the annoyance of the church authorities. What responsibilities did each of us have then in this writing, and how does my responsibility continue to evolve now that he has moved on to join Jesus (or maybe his ancestors)?