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All ethnographic writing is done by a person from one standpoint writing about others living in a different standpoint. Thus, the notion of anthropologists as 'culture brokers' (see Richard Kurin) has been adopted to explain why anthropologists from any given country write about cultural others.
However, 'ethnographic realism' has also been used to refer to a style of writing that narrates the author's experiences and observations as if the reader were witnessing or experiencing events first hand. A work written using ethnographic realism may be referred to as a realist ethnography, and classified as a subgenre of ethnography.
Women Writing Culture took three forms: a 1991 seminar at the University of Michigan, a 1993 special issue of the journal Critique of Anthropology, and the 1995 book.These were organized, in part, in response to the 1986 book Writing Culture: The Poetics and Politics of Ethnography, edited by James Clifford and George E. Marcus. [7]
While ethnography ("ethnographic writing") was widely practiced in antiquity, ethnography as a science (cf. ethnology) did not exist in the ancient world. [10] There is no ancient term or concept applicable to ethnography, and those writers probably did not consider the study of other cultures as a distinct mode of inquiry from history. [ 11 ]
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Anthropologists began conducting ethnographic research in the mid-1800s to study the cultures people they deemed "exotic" and/or "primitive." [15]: 6 Typically, these early ethnographers aimed to merely observe and write "objective" accounts of these groups to provide others a better understanding of various cultures.
Ethnofiction refers to a subfield of ethnography which produces works that introduce art, in the form of storytelling, "thick descriptions and conversational narratives", and even first-person autobiographical accounts, into peer-reviewed academic works. [1] [2] [3]
Ethnopoetics is a method of recording text versions of oral poetry or narrative performances (i.e. verbal lore) that uses poetic lines, verses, and stanzas (instead of prose paragraphs) to capture the formal, poetic performance elements which would otherwise be lost in the written texts.