ABSTRACT

The article is a historical study of ethnographic practices in non-academic fields of culture. It examines the practices and artefacts of cultural production in post-war Turkey and reveals that in the long 1950s popular as well as elite culture lived through an ‘ethnographic moment’ in which ethnographic authority was elevated to be the dominant criterion for the evaluation of good work. During this ethnographic moment, artists, writers and journalists turned their professional practices into ethnographic fieldwork, forged distinction based on their ethnographic methodology, and excluded armchair practitioners as amateurs. By focusing on four main fields – folklore, painting, cinema, and photojournalism – in post-war Turkey, this study disentangles the history of ethnographic practices from the narrower scope of the history of anthropology/sociology and situates it in an overarching account of cultural encounters with the others. In this period, any form of representation of the others was expected to be based on intersubjective intimacy, first-hand experience, and local knowledge. Modern ethnographic methodology was the zeitgeist of public culture.

摘要

这篇文章是对非学术文化领域的民族志实践的历史研究。它考察了战后土耳其文化生产的实践和人工制品，并揭示了在 1950 年代漫长的 1950 年代，流行文化和精英文化都经历了一个“民族志时刻”，在这个“民族志时刻”中，民族志权威被提升为评价好坏的主要标准。工作。在这个民族志时刻，艺术家、作家和记者将他们的专业实践转化为民族志田野调查，根据他们的民族志方法论形成区别，并将扶手椅从业者排除在外。通过专注于战后土耳其的四个主要领域——民俗、绘画、电影和新闻摄影，这项研究将民族志实践的历史与人类学/社会学历史的狭窄范围分开，并将其置于与其他文化相遇的总体描述中。在这个时期，其他人的任何表现形式都被期望建立在主体间的亲密关系、第一手经验和当地知识的基础上。现代民族志方法论是公共文化的时代精神。