We know that photographs lie. Or, rather, that they can be made to lie. It would be clean, easy, to refute the possibility of visual veracity, to declare that contemporary photographic images are too vulnerable to manipulation to ever show us something that we could consider true.
In this article, the author lays out her decision to lean on “feminist periscoping,” a methodological approach developed by the feminist geographer Nancy Hiemstra, to conduct her field research in India. The author then discusses the ways in which this feminist methodology proved to be useful in studying difficult-to-access subjects and spaces and the insights she gained by
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Abstract
This essay looks at the history of the novel, starting from the influential postwar critical insistence on the importance of the novel as a nineteenth-century genre. It notes that this tradition singularly fails to take account of the history of the novel in antiquity–for clear ideological reasons. It then explores the degree to which the texts known as the novel from antiquity, such as Longus’s
Daphnis and Chloe, Petronius’s
Satyricon, or Heliodorus’s
Aethiopica, constitute a genre. Although there is a great deal of porousness between different forms of prose in antiquity, the essay concludes by exploring why the ancient novel, ignored by critics for so long, has now become such a hot topic. It argues that much as the postwar critics could not fit the ancient novel into their histories, now the ancient novel’s interests in sophisticated erotics, narrative flair, and cultural hybridity seem all too timely.