Nineteenth-century Basque culture became a kind of ethnographic museum for anthropology, yet the nativism of its discourse ignored the industrial dimension of Basque society. This duality was captured, however, by the amateur photographer Eulalia Abaitua. She has been ignored by the canon due to her “amateur” status, her gender, and perhaps even her own transnational identity. However, her work fits into a long photographic tradition of “vernacular” ethnographers and her contribution is to be found in her “performance” or production. She should, then, be reclaimed as a significant actor in the history of Basque ethnography.

中文翻译：

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从未有过的民族志学家：Eulalia de Abaitua 作为 Fin-de-Siècle 巴斯克社会的镜头

19 世纪的巴斯克文化成为一种人类学的民族志博物馆，但其话语的本土主义却忽视了巴斯克社会的工业维度。然而，这种双重性被业余摄影师 Eulalia Abaitua 捕捉到了。由于她的“业余”身份、性别，甚至可能是她自己的跨国身份，她一直被经典忽视。然而，她的作品符合“白话”民族志学者的悠久摄影传统，她的贡献可以在她的“表演”或作品中找到。那么，她应该重新成为巴斯克民族志历史上的重要演员。