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By James Clifford
The situation of Culture is a severe ethnography of the West in its altering family members with different societies. reading cultural practices resembling anthropology, shuttle writing, gathering, and museum monitors of tribal paintings, Clifford indicates authoritative bills of alternative methods of existence to be contingent fictions, now actively contested in postcolonial contexts. His critique increases questions of worldwide importance: Who has the authority to talk for any group's identification and authenticity? What are the fundamental components and bounds of a tradition? How do self and "the different" conflict within the encounters of ethnography, commute, and glossy interethnic family members? In discussions of ethnography, surrealism, museums, and emergent tribal arts, Clifford probes the late-twentieth century hindrance of dwelling concurrently inside of, among, and after tradition.
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Extra info for The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art
We are bored , we all" . . . "The mask' moms was once provided h u m a n sacrifices; th i s is Tabyon's tale" . . . " Departu re from Bordeaux at five : five zero P . M . " . . . "Another n ight at Mal kam Aya hou's" . . . "We're method i n g Malaka l . G reen grasses. Yel low grasses. " Le i ri s' l ife of writi ng combi nes an acute feel of the fut i l ity of ex is tence with a tenac ious des i re to sa l vage its mea n i ngfu l deta i l s-q uota tion, belief, reminiscence. He retu rns to h i s box notes. H i s 1 ninety eight 1 paintings, Le ruban au cou d'Oiympia, adopts as soon as aga i n a fragmentary shape co l l ected textu a l evidences of a n lifestyles. I ts priere d'inserer documents a double goa l : "for a second, to provide the protagon i st of this type of, a few ti mes open someti mes d i sgu i sed , p u b l i c confession the i ntox icated suppose i n g of l iv i ng a moment l ife; t o make t h e rece i ver perce ive what, talking of a n actor and h i s p l ay [son jeu) he'd ca l l 'presence . ' " Priere d'inserer- l oose someplace among the written publication, the des i pink reader. Starti ng u p . the subsequent Leiris . . . L 'Afrique fantome beg i n s a writi ng method th at wi l l finish lessly pose and recom pose a n id. Its poetics is one in every of i ncom p letion and method, with house for the extraneous. I nterru pti ng the graceful eth nographic tale of an entry to Africa, it u nderm i nes the assu m ption that se lf and different should be accumulated i n a solid narrative coherence. Le i ris' unusual, open ended " booklet" m ay be s ituated with i n a brand new, heterogeneous h i storical s ituati o n . Le iris wou ld turn into a pal of A i me Cesai re i n the cruc ia l decade after the second one global conflict, w he n surreal ism, as cu ltural po l itical criti c i s m , retu rned to its local l and, Pa ris, yet now s peaking the accents of negritude. (Leiris used to be might be the fi rst expert eth nog rapher to call and learn co lon i a l is m , in 1 950, as an inescapable ideo logical grou nd . ) it truly is becom i n g universal to d i stinguish negri tudes. Senghor's seems again to trad ition and eloquently gathers u p a co l lective "African" essence . Cesai re's is extra syncreti c, glossy ist, a n d parod ic-Caribbean i n its attractiveness o f fragments and that i n i t s apprec ia tion of the mec h a n i s m of col l age in cu ltura l l ife. we're a l l Cari bbean s now i n o u r u rban arc h i pel agos. " G u i nea" (old Africa, writes Cesa i re) "from you r c ry out of your hand out of your persistence/ we sti l l have a few arbitrary l a nds" ( 1 983 :207). maybe there is no go back for a person to a local l and-o n l y box notes for i ts rei n ventio n . The G u ya nese novel ist and critic Wi l son Harris recommends a "pri n c i p l e of 1 seventy four D I S PL A C E M E NTS j u xtaposition" that allows you to account for "the making of trad ition . . . the heterogeneous grou ndwork of actual com m u n i ty. " He i s i nterested in somet h i n g he ca l ls "the j igsaw of natu re, and the d i a l ogue of rea l ity" ( 1 973 : 7, nine, eight 1 ) .