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What happens when ethnographers go public via books, opinion papers, media interviews, court testimonies, policy recommendations, or advocacy activities? Calling for a consideration of this public moment as part and parcel of the research process, the contributors to If Truth Be Told explore the challenges, difficulties, and stakes of having ethnographic research encounter various publics, ranging from journalists, legal experts, and policymakers to activist groups, local populations, and other scholars. The experiences they analyze include Didier Fassin’s interventions on police and prison, Gabriella Coleman's multiple roles as intermediary between hackers and journalists, Kelly Gillespie's and Jonathan Benthall's experiences serving as expert witnesses, the impact of Manuela Ivone Cunha's and Vincent Dubois's work on public policies, and the vociferous attacks on the work of Unni Wikan and Nadia Abu El-Haj. With case studies from five continents, this collection signals the global impact of the questions that the publicization of ethnography raises about the public sphere, the role of the academy, and the responsibilities of social scientists.

Contributors. Jonathan Benthall, Lucas Bessire, João Biehl, Gabriella Coleman, Manuela Ivone Cunha, Vincent Dubois, Nadia Abu El-Haj, Didier Fassin, Kelly Gillespie, Ghassan Hage, Sherine Hamdy, Federico Neiburg, Unni Wikan

Notorious Facts examines the sensationalistic confounding of persons and principles in the public life of Romantic England (1780–1830). Its purview is limited to five decades straddling the late eighteenth and early nineteenth centuries, but its trajectory, moving from a politics rendered in personal terms to a politics of personality, describes a shift still in process today. The study’s chapters draw on a motley body of literature (pamphlets, secret histories, and the like) that at first glance seems uncharacteristic of what literary historians call the English Romantic period. Viewed in the context of something called late Georgian England, these texts seem more indigenous, but if the canonical revisionism of the last few decades should teach us anything, it is that a Romanticism encompassing all romanticisms ideally excludes nothing.

In its heroic Enlightenment sense, publicity is concerned with exposing the workings of power for all to see. A good deal may be inferred about publicity in Romantic England from primary texts in which this salutary function is at once espoused and subverted. These texts—the mostly nameless or pseudonymous authors of the age’s pamphlet literature are the heroes and villains of the piece—almost invariably claim to speak from a disinterested conception of publicity while putting its methods of critical exposure to wholly self-interested purposes. This study examines well-known authors of the period like Jeremy Bentham, Samuel Taylor Coleridge, and William Hazlitt, as well as pamphleteers like John Horne Tooke, Philip Withers, and Nathaniel Jefferys. Other figures include authors of secret history like Thomas Ashe, Mary Anne Clarke, Lewis Goldsmith, and Joseph Haslewood in addition to notorious figures in their own right such as the Prince and Princess of Wales, Mrs. Fitzherbert, and the Reverend Edward Irving. Among the topics treated are treasonous libel, royal scandal, secret history, and celebrity.

Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
 

Mexico is more than a country; it is a concept that is the product of a complex network of discourses as disparate as the rhetoric of Chicano nationalism, English-language literature about Mexico, and Mexican tourist propaganda. The idea of "Mexicanness," says Daniel Cooper Alarcón, "has arisen through a process of erasure and superimposition as these discourses have produced contentious and sometimes contradictory descriptions of their subject." By considering Mexicanness as a palimpsest of these competing yet interwoven narratives, Cooper offers a paradigm through which the construction and representation of cultural identity can be studied.

He shows how the Chicano myth of Aztlan was constructed upon earlier Mesoamerican myths, discusses representations of Mexico in texts by nineteenth- and twentieth-century writers, and analyzes the content of tourist literature, thereby revealing the economic, social, and political interests that drive the production of Mexicanness today. This original linking of seemingly incongruous discourses corrects the misconception that Mexicanness is produced only by hegemonic groups. Cooper shows how Mexico has been defined and represented, by both Mexicans and non-Mexicans, as more than a political or geographic entity, and he particularly reveals how Mexicanness has been exploited by Mexicans themselves through the promotion of tourism as a form of neocolonialism.

Cooper's work is valuable both for identifying attempts to revise and control Mexican myth, history, and culture and for defining the intricate relationship between history, historiography, and cultural nationalism. The Aztec Palimpsest extends existing analyses of Mexicanness into new theoretical realms and provides a fresh perspective on the relationship between the United States and Mexico at a time when these two nations are becoming more intimately linked.