By James Clifford
The obstacle of Culture is a serious ethnography of the West in its altering relatives with different societies. examining cultural practices reminiscent of anthropology, commute writing, amassing, and museum screens of tribal artwork, Clifford indicates authoritative bills of different methods of lifestyles to be contingent fictions, now actively contested in postcolonial contexts. His critique increases questions of worldwide value: Who has the authority to talk for any group's identification and authenticity? What are the fundamental parts and limits of a tradition? How do self and "the different" conflict within the encounters of ethnography, go back and forth, and sleek interethnic kinfolk? In discussions of ethnography, surrealism, museums, and emergent tribal arts, Clifford probes the late-twentieth century crisis of dwelling at the same time inside of, among, and after tradition.
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Extra resources for The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art
P . three 2 ) Sega len's C h i nese panorama is only stopped movement . Mounta i ns are "frozen waves . " He rides with fasc i state over the "ye l l ow nation" of the north ( " I mage de Ia Ch i ne? " he wonders), a fu rrowed , reduce land, yel low dirt i n t h e w i n d and water continuously mov i ng; everyth i n g erodes. H is street maneuvers around the l and, tacki ng to skirt every one new cave-i n or A POETI C S O F D I S PLAC EMENT: VICTOR S EGALEN 1 fifty seven alteration of a stream's cou rse. Segalen writes the trendy adventure of d isplacement: self and othe r a seq uence of encou nters, detou rs, with the sta b l e id of every at factor. Sega len's C h i na i s a m u ltiform a l l egory, a sou rce of i n c reasingly own (if carefu l ly eq u ivocal ) mea n i ngs . Steles ( 1 nine 1 2), poems written i n the style of fu nerary i nscriptions, don't a lot translate a C h i nese c u l tura l content material as give you the i r writer with a n i m perso n a l , respectable vo ice, a d i sgu ise a l low i n g h i m a level of expressive freedom. Segalen isn't really given to individual a l statements of emotio n ; yet his Peintures ( 1 nine 1 6), poems descri b i n g a sequence of C h i nese pa i nti ngs, are points of an i nti mate i magi n ation . The "pai nti ngs" are i nsc ribed on s i l ok, porce l a i n , wool, water, even i n the a i r through a mov i n g fan . a few u n ro l l as lengthy scro l l s . I n the opaq u e gaze of a lady, the price l of a tapestry, the chilly su rface of a vase, Sega len explores a ga l lery of non-public fasc i international locations and fears . The pa inting that comes subsequent isn't really one who hangs h igh u p yet i s t o b e opened with a slightly o f t h u m b and that i n dex, l i ke t h e half-moon fan carried in Autu m n and Spring . . . and actua l l y it really is referred to as : FLYING FAN do not supply it any leisure : do not try and check out it laid out flat, or cou nt the ivory i n l ays ; yet supply it m ovement, a lways; stroke the air and se cretly, out of the nook of a watch, check out every one mild breath it sends, little by little wager on the fu rtive scenes : the historical past, black and sh in ing. unexpected ly a battlement opens: wi ngs beat : eyes rol l : a sku l l caves i n : out comes a pagoda, with a s i ngle spurt unfold i n g to the open sky . . . D i d you spot it? Fan , maintain fan n i n g . A figu re composes itself: a unadorned m o n ok , ecstatic . j ust eyes are left of h i s enti re physique, yet they' re very m uch a l ive . (The relaxation is d ry or rotted . ) He l ets u s be aware of that what is obvious, on my own, is nice . Fan, maintain fan n i n g . . . Now a wide-open face stares out at you ; so magical l y and deeply that it wi l l repair itself to you r positive factors and should develop into your face when you do not, sti l l fan n i ng, swap it to whatever else much less query ing: the curved stroke of a Pai nter's horizon; the tremendous u nd u lation of the ocean ; gradual wi ng-beat of the good rose goose i n the sky; the collected , stri pped , spare caress of each des i re . . . Fan , hold fan n i ng . . . 1 fifty eight D I S PLAC E M E NT S however the pai n ted face inspires itself back, with insolence, clearer at each flip .