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S. Geroulanos (2020)
Transparency in Postwar France
S. Pollock (2009)
Future Philology? The Fate of a Soft Science in a Hard WorldCritical Inquiry, 35
L. Daston, G. Most (2015)
History of Science and History of PhilologiesIsis, 106
(2017)
Transparency in Postwar France: A Critical History of the Present
M. Mauss, D. Lussier, N. Allen (2022)
The Manual of Ethnography
M. Griaule (1957)
Méthode de L'ethnographie
Jean Kazez (2010)
The Order of Things
REVIEW ESSAY STEFANOS GEROULANOS Rhythm Is a Dancer: Haun Saussy’s Epistemological History of Oral Tradition Haun Saussy. The Ethnography of Rhythm. New York: Fordham University Press, 2016. Oral literature follows rules that differ from those observed by written litera- ture; it enjoys different privileges, because in it people normally aim for rhythm and composition. Poetry meant for reading is less perfect than poetry composed for recitation. —Marcel Mauss, Manual of Ethnography 90 I. Perturbations upon Perturbations In 1946, the French ethnologist Marcel Griaule met an old blind hunter among the Dogon in Mali, whom he subsequently treated as the principal expositor of Dogon culture. Central to Griaule’s ethnographic modus operandi was a herme- neutics of suspicion fueled by more than a pinch of racism. In 1939, he had written to Paul Valéry complaining that the Dogon were toying with him when they told of their oral tradition: “Well, my negro friends! You thought you’d had me with your myth of the turtle! But . . .” (Fonds Paul Valéry). By the time he met Ogotemmelli the hunter, Griaule was allegorizing the anthropological encounter as a strategic operation, an “inquest” starring an ethnographer as the “examining magistrate” dealing with an
Comparative Literature – Duke University Press
Published: Jun 1, 2018
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