Time and the Other: How Anthropology Makes Its Object
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Fabian's study is a classic in the field that changed the way anthropologists relate to their subjects and is of immense value not only to anthropologists but to all those concerned with the study of man. A new foreward by Matti Bunzl brings the influence of Fabian's study up to the present. Time and the Other is a critique of the notions that anthropologists are "here and now," their objects of study are "there and then," and that the "other" exists in a time not contemporary with our own.
Johns Hopkins University Press. Evans- Pritchard, E. E. 1940. The Nuer: A Description of the Modes of Livelihood and Political Institutions of a Nilotic People. Oxford: Oxford University Press. Fabian, Johannes. 1969. Charisma and Cultural Change. Dissertation. University of Chicago. ———. 1971a. Jamaa: A Charismatic Movement in Katanga. Evanston: Northwestern University Press. ———. 1971b. “Language, History and Anthropology.” Philosophy of the Social Sciences 1: 19– 47. Citations are based on
ideas. I hope that my arguments will complement and, in some cases, elaborate his theses. Quite possibly, M. Foucault’s influence explains why there is so much convergence between our views. There may also be deeper analogies in our intellectual biographies, as we found out in later conversations. I believe we both struggle to restore past experiences, which were buried under layers of “enculturation” in other societies and languages, to a kind of presence that makes them critically fruitful. A
figures. This path-breaking critique of the discursive construction of the anthropological object aligned the emancipatory claims of critical anthropology with poststructural investigations into the representation of the Other. For Fabian, Michel Foucault’s interventions functioned as an important inspiration— a clear parallel to Edward Said’s concurrent analysis of “Orientalism” that similarly focused on the discursive formations that imagined, packaged, and fi xed the Orient as a sign of the
situation underscores the central function of anthropological coevalness by portraying observed reality itself as a constitutive moment of fieldwork. Fabian pursues a similarly path-breaking ontology of anthropological knowledge production in Remembering the Present. Here too the overcoming of allochronism is the central focus, and, as in Power and Performance, the accordance of coevalness results from the mobilization and representation of the ethnographic dialogue as a constitutive element of
cultural production. Here, however, it is not actors who converse with the anthropologist and his readers but rather an artist, Tshibumba Kanda Matulu. In the 1970s, Fabian encouraged him to depict the history of Zaire. The reproduction of the resulting 101 paintings, along with the artist’s descriptions of them, constitute the main part of the book. In its radical extension of anthropological authority, Remembering the Present thus exemplifies a concrete attempt not only to deconstruct