Multisituated

2021 ◽  
Author(s):  
Kaushik Sunder Rajan
Keyword(s):  
Knowledge Production ◽  
First Century ◽  
Conditions Of Possibility ◽  
Political Intervention ◽  
Twenty First Century ◽  
The University

In Multisituated Kaushik Sunder Rajan evaluates the promises and potentials of multisited ethnography with regard to contemporary debates around decolonizing anthropology and the university. He observes that at the current moment, anthropology is increasingly peopled by diasporic students and researchers, all of whom are accountable to multiple communities beyond the discipline. In this light, Sunder Rajan draws on his pedagogical experience and dialogues to reconceptualize ethnography as a multisituated practice of knowledge production, ethical interlocution, and political intervention. Such a multisituated ethnography responds to contemporary anthropology’s myriad commitments as it privileges attention to questions of scale, comparison, and the politics of ethnographic encounters. Foregrounding the conditions of possibility and difficulty for those doing and teaching ethnography in the twenty-first-century, Sunder Rajan gestures toward an ethos and praxis of ethnography that would open new forms of engagement and research.

Out of the box, onto the web: Digitizing images in the Tuzin Archive for Melanesian Anthropology

2020 ◽  
Vol 8 (2) ◽  
pp. 251-268 ◽  
Author(s):  
Cristela Garcia-Spitz ◽  
Kathryn Creely
Keyword(s):  
Twentieth Century ◽  
San Diego ◽  
New Technologies ◽  
First Century ◽  
University Of California ◽  
Online Access ◽  
Twenty First Century ◽  
The University ◽  
Archival Practices ◽  
The Web

How are ethnographic photographs from the twentieth century accessed and represented in the twenty-first century? This report from the Tuzin Archive for Melanesian Anthropology at the University of California San Diego Library provides an overview of the photographic materials, arrangements and types of documentation in the archive, followed by summaries of specific digitization projects of the photographs from physician Sylvester Lambert and anthropologists Roger Keesing and Harold Scheffler, among others. Through the process of digitization and online access, ethnographic photographs are transformed and may be discovered and contextualized in new ways. Utilizing new technologies and forming broad collaborations, these digitization projects incorporate both anthropological and archival practices and also raise ethical questions. This is an in-depth look at what is digitized and how it is described to re/create meaning and context and to bring new life to these images.

The Trial That Never Was: Russian Documentary Theatre and the Pursuit of Justice

2014 ◽  
Vol 30 (4) ◽  
pp. 307-317 ◽  
Author(s):  
Molly Flynn
Keyword(s):  
Real Life ◽  
Time Span ◽  
First Century ◽  
Documentary Theatre ◽  
Avant Garde ◽  
University Of Cambridge ◽  
Doctoral Candidate ◽  
Twenty First Century ◽  
The University ◽  
Judicial History

Twenty-first-century Russian theatre artists have increasingly taken to using material from real-life events to explore the intricacies of injustice in the civic sphere and its connection to the country's past. In a fifteen-year time span documentary forms have come to the forefront of Russia's theatrical avant-garde. In this article Molly Flynn offers a close reading of one of the most politically charged productions to have emerged from Moscow's booming documentary theatre – One Hour Eighteen: the Trial that Wasn't but Should Have Been (2010). The play uses verbatim texts from the prison and medical staff directly involved in the final days before the murder of Russian attorney Sergei Magnitskii in 2009. Setting the piece in a theatrical courtroom, the creators of One Hour Eighteen place their work in the context of Russia's judicial history in the previous century, during which the resemblance of trials to theatre has often been uncomfortably close. Molly Flynn is a doctoral candidate in Slavonic Studies at the University of Cambridge. She is currently completing her doctoral thesis on the history and significance of documentary theatre in twenty-first-century Russia.

scholarly journals The Humanities as Contradiction: Against the New Enclosures

Humanities ◽  
2018 ◽  
Vol 7 (3) ◽  
pp. 70
Author(s):  
Christopher Breu
Keyword(s):  
Economic Crisis ◽  
Knowledge Production ◽  
Symbolic Capital ◽  
Point Of View ◽  
First Century ◽  
Dialectical Tension ◽  
Level Of Knowledge ◽  
The Subject ◽  
Twenty First Century

This essay begins by surveying our current moment in the humanities, diagnosing the language of crisis that frames much of the discourse about them. It argues that the crisis is a manufactured economic one not a symbolic one. The problems with many recent proposals—such as the new aestheticism, surface reading, and postcritique—is that they attempt to solve an economic crisis on the level of symbolic capital. They try to save the humanities by redisciplining them and making them mirror various forms amateur inquiry. I describe these approaches as the new enclosures, attempts at returning the humanities to disciplinarity with the hopes that administrative and neoliberal forces will find what we do more palatable. Instead of attempting to appease such forces by being pliant and apolitical, we need a new workerist militancy (daring to be “bad workers” from the point of view of neoliberal managerial rhetorics) to combat the economic crisis produced by neoliberalism. Meanwhile, on the level of knowledge production, the humanities need to resist the demand to shrink the scope of their inquiry to the disciplinary. The humanities, at their best, have been interdisciplinary. They have foregrounded both the subject of the human and all the complex forces that shape, limit, and exist in relationship and contradiction with the human. The essay concludes by arguing that the humanities, to resist neoliberal symbolic logics, need to embrace both a critical humanism, and the crucial challenges to this humanism that go by the name of antihumanism and posthumanism. It is only by putting these three discourses in negative dialectical tension with each other that we can begin to imagine a reinvigorated humanities that can address the challenges of the twenty-first century.

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