Afrasian Entanglements and Generic Ambiguities in Sultan Somjee’s Bead Bai
Afrasian Entanglements and Generic Ambiguities in Sultan Somjee’s Bead Bai
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苏丹颂吉 (Sultan Somjee) 的珠拜 (Bead Bai) 中的阿夫拉西亚纠葛和一般模糊性
DOI：
10.1163/18757421-05201012
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发表时间：
2021
期刊：
影响因子：
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通讯作者：
Delphine Munos
中科院分区：
文献类型：
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作者：
Delphine Munos
这篇文章着眼于苏丹的珠白（2012年），重点是Sakina，一个成员的Satpanth伊斯玛仪社区生活在二十世纪中期世纪肯尼亚。基于对居住在西欧和北美的Khoja妇女的九年研究和采访，Bead Bai通常被描述为“历史小说”或“民族志小说”，但它也可以被认为是属于布雷特史密斯等人（2015）所说的“民族志创造性非小说”类型。我讨论的方式，其中的“流派弯曲”方面的珠白参与追溯鲜为人知的历史，为亚洲非洲妇女整理，安排和照顾民族珠在东非殖民时期的埃塞俄比亚纠缠。更具体地说，我将建议，通过玩弄小说和民族志之间的边界，索姆吉开辟了新的性别途径，重新插入想象的类别在核心的亚伯拉罕纠结。
This article looks at Sultan Somjee’s Bead Bai (2012) which focuses on Sakina, a member of the Satpanth Ismaili community living in mid-twentieth century Kenya. Based on nine years of research and interviews with Khoja women who now reside in Western Europe and North America, Bead Bai is generally described as a “historical novel” or an “ethnographic fiction,” yet it also can be thought of as pertaining to the genre of what Brett Smith et al. (2015) call “ethnographic creative nonfiction.” I discuss the ways in which the ‘genre-bending’ aspects of Bead Bai participate in retracing the little-known history of Afrasian entanglements for Asian African women who sorted out, arranged and looked after ethnic beads during colonial times in East Africa. More specifically, I will suggest that, by toying with the boundary between fiction and ethnography, Somjee opens new gendered avenues for reinserting the category of the imaginary at the heart of Afrasian entanglements.