Reversed Gaze

Deftly illustrating how life circumstances can influence ethnographic fieldwork, Mwenda Ntarangwi focuses on his experiences as a Kenyan anthropology student and professional anthropologist practicing in the United States and Africa. Whereas Western anthropologists often study non-Western cultures, Mwenda Ntarangwi reverses these common roles and studies the Western culture of anthropology from an outsider's viewpoint while considering larger debates about race, class, power, and the representation of the "other." Tracing his own immersion into American anthropology, Ntarangwi identifies textbooks, ethnographies, coursework, professional meetings, and feedback from colleagues and mentors that were key to his development. Reversed Gaze enters into a growing anthropological conversation on representation and self-reflexivity that ethnographers have come to regard as standard anthropological practice, opening up new dialogues in the field by allowing anthropologists to see the role played by subjective positions in shaping knowledge production and consumption. Recognizing the cultural and racial biases that shape anthropological study, this book reveals the potential for diverse participation and more democratic decision making in the identity and process of the profession.

Annotation Illustrating how life circumstances can influence ethnographic fieldwork, Mwenda Ntarangwi uses his experiences as a Kenyan anthropology student & professional anthropologist in the U.S. & Africa as the basis of this study of the Western culture of anthropology.

Who has not, in a favored moment, ‘stolen the limelight’, whether inadvertently or by design? The implications of such an act of display – its illicitness, its verve, its vertiginous reversal of power, its subversiveness – are explored in this book. Narrative crafting and management of such scenarios are studied across canonical novels by Gide, Colette, Mauriac, and Duras, as well as by African Francophone writer Oyono and detective novelist Japrisot. As manipulated within narrative, acts of display position a viewer or reader from whom response (from veneration or desire to repugnance or horror) is solicited; but this study demonstrates that display can also work subversively, destabilising and displacing such a privileged spectator. As strategies of displacement, these scenarios ultimately neutralise and even occult the very subject they so energetically appear to solicit. Powered by gendered tensions, this dynamic of display as displacement works toward purposes of struggle, resistance or repression.

Isabelle Robinet's Taoist Meditation is the first and only scholarly study to discuss the ancient Mao-shan Taoist tradition of visionary meditation while, at the same time, helping to clarify the little understood relationship among the early Taoist classics, the Buddhist tradition, and the later Taoist religion. Most importantly, Taoist Meditation is a pioneering study that fully and accurately describes the unique visionary cosmology, bodily symbolism, astral journeys, internal alchemy, meditational techniques, and ritual practices of the Mao-shan or Shang-chi'ing (Great Purity) movement—one of the most important foundational traditions making up the overall Taoist religion. This English version of Robinet's work is more than a simple translation.Taoist Meditation presents a significantly expanded edition of the original French text which includes up-to-date bibliographies of Robinet's work and other Western scholarship on Taoism, additional illustrations, and a newly compiled list of textual citations.

Analysing films by established directors such as Sokurov and Zel'dovich, as well as lesser-known filmmakers like Balabanov and Kalatozishvili, this book explores the particular style of film presentation that has emerged in Russia since 2000, characterised by its use of highly abstract concepts and visual language.

Mechademia 10 revolves around a maelstrom of events: the devastation of 3/11—the earthquake, tsunami, and nuclear reactor crises—and the ongoing environmental disasters that have recently overtaken Japan. Because anime and manga have long proposed (and illustrated) alternative worlds—some created after catastrophes—it is fitting that this volume should consider this propensity for “world renewal.” Individual essays range widely, from a poetic and personal reflection on the ritual of tôrô nagashi (the lighting of floating paper lanterns that has traditionally commemorated souls lost in great public cataclysms, such as war) to a study of the various counterfactual histories written about the historical figure of Toyotomi Hideyoshi, a former peasant farmer who became a military dictator of feudal Japan. The book also includes an original manga, Nanohana, from the popular artist Hagio Moto, who is quoted as saying: “I want to think together with everyone else about Fukushima and Chernobyl, about the future of the Earth, about the future of humankind, and to keep thinking moving forward.”

A transformative account of the adventures of Persian travelers in the nineteenth century, moving beyond Eurocentric approaches to travel narratives.

What is the cultural value of travel writing today? How is the genre affected by instant communication and digital technologies? This volume provides answers to these questions through adopting a transmedial perspective by comparing printed travel books and travel blogs. Notably, it explores how different editorial and medial choices impact on the cultural practices of travelling and writing. Methodologically, an ethnography is proposed via the discussion of a number of original interviews (collected over three years) with contemporary travel authors and bloggers, who journeyed around (and wrote about) China. These writers are from both the West (the UK, the USA, Italy, France, New Zealand) and China (Hong Kong and the Mainland). As such, the volume not only deconstructs the English-centredness and ethnocentrism that often affect travel writing as a genre, as well as many studies on it, but it also renews the academic debate on the politics behind the genre, connecting the texts with their spheres of production and reception. The study shows the interdependence between medial and literary features, on the one hand, and the ways of journeying and writing about the experience, which largely depend upon the biography of each writer, on the other.