Titlebook: British Fiction and Cross-Cultural Encounters; Ethnographic Moderni Carey J. Snyder Book 20081st edition Palgrave Macmillan, a division of

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Introduction Ethnographic Observers Observed,o a degree that scholars of modernism have not fully appreciated, literary writers of the period engaged ethnographic discourse on multiple levels, depicting characters who function as amateur ethnographers, emulating ethnographic techniques on a narrative level, and, at the same time, questioning t

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,Explorer Ethnography and Rider Haggard’s African Romance, ,at lie on a different register. These interpretive modes tend to pry Haggard’s romances out of their historical moment, overlooking their resonance with other textual forms, including the ethnographic writings of explorers like Richard Burton and Henry Stanley, with which, I will demonstrate, Haggar

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,“When the Indian Was in Vogue”: D. H. Lawrence, Aldous Huxley, and Ethnological Tourism in the Soutr his “true engagement with the primitive” (Storch 50–51).. This chapter suggests that we should read Lawrence not for potential insight into Indian cultures but, rather, for his illumination of the practice of cultural observation, which takes him into terrain traversed by ethnologists and tourists alike.

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,Self-nativizing in Virginia Woolf’s , when the observers find that they are observed. A sleight of perspective turns the English into strangers, as the point of view shifts from the tourists to the native women who are the subject of the following sentence:

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https://doi.org/10.1007/978-1-349-18846-8cluding canonical modernists Joseph Conrad, Virginia Woolf, D. H. Lawrence, and E. M. Forster, as well as the popular writers, Rider Haggard, H. G. Wells, and Aldous Huxley—set their fiction in colonial outposts or other exotic locations and dramatized encounters between British travelers and people