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PA_4 The postcolonial world in journals – Societal depictions in Mexican literary journals during the time of nation-building (1830–1860)
No full textDieser Beitrag zeigt, dass die Verbreitung frühen ethnographischen Wissens und die damit einhergehende Konsolidierung kultureller Praktiken im 19. Jahrhundert nicht auf Europa beschränkt blieben. In Süd- und Mittelamerika kam um die Jahrhundertmitte bei diesem Prozess vor allem Literaturzeitschriften eine zentrale Bedeutung zu, die am Beispiel Mexikos veranschaulicht wird.This article argues that the production of knowledge that intensified in the nineteenth century was not restricted to Europe. By investigating the imparting of knowledge about cultural practices in Mexico in the period of Independence (1830–1860), the importance of literary journals within this process is elaborated
Anthropology Anonymous? Pseudonyms and Confidentiality as Challenges for Ethnography in the Twenty-first Century
Get PDFThis article reflects on the delicate issue of confidentiality and anonymity in contemporary anthropological research. It focuses on the challenges of assigning pseudonyms and disguising the identity of interlocutors and participants, especially in the contemporary context of the widespread use of social media and the internet. Drawing on the moral dilemmas, struggles, and failures that I experienced in relation to these issues in my own research, the article discusses the complexity of finding the right balance between respecting research participants’ interests and well-being, on the one hand, and living up to both the high ethical standards of the discipline and the desire to provide a meaningful analysis of ‘real’ issues, people, and places, on the other
Reply to Sjaak van der Geest
Get PDFIn this short reply, I respond to some of Sjaak van der Geest’s comments on my article
Inner Dialogues: Negotiations Unfolding between the Field and one’s Desk
Get PDFThis article is concerned with the inner dialogues around ethical dilemmas and concerns which unfold somewhere between the field and one’s desk. It engages self-reflexively with how the subject of research is intimately connected with particular forms of representation and posits that it is especially ethnographic research on violence that renders the inherent premises and (com)promises of representation acutely tangible. Only seldom does the ethnographic story begin and end with the arrival and departure from the field. It is rather the case that the decision ‘about how to write’ does not develop linearly, is subject to shifts, and is often radically decentred at different points in time. In this article, I draw on my PhD research, conducted on the outskirts of Durban, South Africa, in which I became caught up in a series of hitman killings. When two of my main interlocutors were arrested for murder, I was confronted with the demand to make my ethnographic material available for the forthcoming trial. Taking this case as point of departure, I argue that, whilst significant efforts have been made to unravel the ethical tensions that define the everyday practice of doing field research, comparatively little conceptual work is available that engages with the nature of what we are doing when we write, the significance of ethical decision making therein, and how these unfold, leaving it to be something of a black box within research practice
Anonymity. Shaping knowledge through not-knowledge.
No full textEinführung zum Panel C Knowing, not-konwing and designing anonymit
Adapting to a Design-Based Professional Learning Intervention
Get PDFDesigning a systematic inquiry-based, and knowledge-building experience through continuous professional learning for teachers is a key challenge for school authorities. A total of 26 teachers, five principals, three researchers, one graduate student, and two contract professionals from a university were involved in a research-practice partnership. The partners engaged in a yearlong design-based professional learning series. In this study, design-based research was used as the methodology to understand the participant responses to professional learning during the design, enactment, and refinement phases used to design the professional learning series. Open-ended survey responses, researcher field notes and documents from the professional learning sessions were analyzed throughout the study and during three phases of the learning design. The results indicated there were four key shifts and corresponding adaptations made by the participants as they responded to and engaged in a continuous model of professional learning
Le régiolecte marseillais à l’écran: MARSEILLE : Schwa et nasales dans la série (Dan Franck, 2016) et le film (Kad Merad, 2016)
Get PDFLanguage in fictional audiovisual media is an artificial language, prefabricated by screenwriters and performed by actors – but since the goal of motion pictures is the immersion of the audience into the diegesis, the dialogues need to be plausible in terms of spontaneous orality (cf. Bedijs 2012 and 2017, Goetsch 1985). The characters need to speak a language which respects social and contextual aspects of the diasystem, and if one character originates from a dialectal region, one can expect their language to reflect this regiolect to a comprehensible degree. In this contribution, we offer a variational analysis with a focus on the staging of Marseille’s regiolect in the dialogues of two 2016 fictional productions sharing the title MARSEILLE: the movie directed by Merad and the Netflix series directed by Franck. Based on recent studies on the « parler marseillais » (cf. Gasquet-Cyrus 2016, Géa & Gasquet-Cyrus 2017), we take into account particularly the realisation of schwa and nasal vowels followed by nasal consonants and in some cases a velar appendix, two elements considered typical for the Southern French accent (cf. Coquillon & Durand 2010). Besides the finding that the use of accent depends on the communicative context, we suppose that the biography of the actors also plays a role for the credibility of staged language.Le langage des productions audiovisuelles fictionnelles est un langage artificiel, préconstruit par des scénaristes et mis en scène par des acteurs – mais le but d’un film étant l’immersion du public dans la diégèse, les dialogues doivent être vraisemblables en termes d’oralité spontanée (cf. Bedijs 2012 et 2017, Goetsch 1985). Les caractères doivent parler un langage qui respecte les aspects sociaux et contextuels du diasystème, et si les personnages proviennent d’une région dialectale, on peut s’attendre à ce que leur langage reflète ce régiolecte dans une mesure compréhensible par le grand public. Dans cette contribution, nous proposons une analyse variationnelle des dialogues de deux fictions intitulées MARSEILLE, le long métrage (Merad 2016) et la série télévisée (Franck 2016), centrée sur la mise en scène du régiolecte marseillais. En partant des études récentes sur le « parler marseillais » (cf. Gasquet-Cyrus 2016, Géa & Gasquet-Cyrus 2017), nous prenons en compte surtout la réalisation du schwa et des voyelles nasales suivi de consonnes nasales et parfois d’un appendice vélaire, deux éléments considérés comme typiques de l’accent du Midi (cf. Coquillon & Durand 2010). Outre le constat que l’emploi de l’accent dépend du contexte communicatif, nous suggérons que la biographie des acteurs joue un rôle pour la crédibilité de cette mise en scène