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Dani Napton

Counter-revolutionary or wary progressive? Critical apologist for the Stuart and Hanoverian dynasties? What are the political and cultural significances of place when Scott represents the instabilities generated by the Union? Scott's Novels and the Counter-Revolutionary Politics of Place analyses Scott’s sophisticated, counter-revolutionary interpretation of Britain's past and present in relation to those questions.

Exploring the diversity within Scott’s life and writings, as historian and political commentator, conservative committed to progress, Scotsman and Briton, lawyer and philosopher, this monograph focuses on how Scott portrays and analyses the evolution of the state through notions of place and landscape. It especially considers Scott’s response to revolution and rebellion, and his geopolitical perspective on the transition from Stuart to Hanoverian sovereignty.

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Edited by Jeanne Garane

The essays collected in this volume explore the ways in which hybridity functions in a wide variety of visual, musical, and written texts from France, the Francophone world, and beyond. Hybridity is defined here as an unexpected interaction or combination between two or more forms--whether literary, filmic, ethnic, generic or gendered. The volume covers works ranging from the 16 th to the 20 th centuries, from Pierre de Ronsard to Woody Allen. The essays demonstrate that rather than being a uniquely postmodern or postcolonial phenomenon, hybridity may be integral to creativity itself, leading to the conclusion that hybrid forms tend to challenge authority by proposing alternatives to existing power structures or questioning conventional ways of thinking and viewing the world.

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Greta Bliss

Abstract

This essay argues that Yasmine Kassari’s 2004 fiction film L’Enfant endormi flouts cinematographic conventions, indicates the limits of scientific paradigms, and challenges the ethnographic gaze immanent to South-to-North fiction film production and distribution. By constructing the film’s plot around the traditional belief and practice of conjuring a child to “sleep” in utero, Kassari draws on both documentary and fiction to create a hybridized story that I term an “ethnographic fable.” The film’s ethnographic effects include its images of repetitive tasks, objects and rituals; its gendered sense of intimate access to the protagonists; and the creation of the illusion that time, like the sleeping child, is standing still, recalling the “denial of coevalness” between the gaze of ethnography and its object (Johannes Fabian). Yet because Kassari deploys multiple narrative and stylistic devices to complicate these ethnographic effects, L’Enfant endormi resists categorization. Instead of conforming to the bounds of fiction or of ethnography, Kassari has created a kind of “film fable” (Jacques Rancière): a critical representation that mimics visual ethnography while challenging its illusions.