7 Comparison: doing ethnography and thinking comparatively The concept of comparison that shapes this chapter functions somewhat differently from the concepts organising the previous three chapters (culture, change and identity). Those served as analytic lenses to bring out particular dimensions of the data. Comparison here is primarily a matter of relating the ethnographic data to other experiences which lie beyond that research. I am using comparison to draw out further themes from the data, and to revisit some we have already explored, but also to pull back
MUP FINAL PROOF – <STAGE>, 09/13/2013, SPi 5 International comparisons Jacques Derrida, Pierre Bourdieu and the French University The work of leading French academics such as Pierre Bourdieu and Jacques Derrida on education points to key differences in emphasis in the Irish and French university systems. However, the French university system did share, only much earlier, many of the key changes that have come to Irish universities since the 1980s. It experienced a surge in university numbers slightly earlier than its Irish counterpart. Alain Bienayme notes
This chapter compares the air policing methods practised by some other states with British techniques of colonial control. It presents the Rif war in Morocco and the Druze revolt in Syria. The chapter then deals with the Italian Empire in Africa, its chief concerns being the war of reconquest in Libya and the invasion of Abyssinia. During the conquest of Libya the Italians relied mainly upon Eritrean and Libyan infantry, supported by Fascist Militia, cavalry, artillery and armoured cars. British air policing operations in their Middle Eastern territories differed in kind from the Italian war of conquest against the sovereign state of Abyssinia. The air control scheme advanced by Winston Churchill and implemented by Hugh Trenchard was the product of a particular financial, military and political conjuncture unique to the British Empire in the Middle East.
6 Jean-Claude Barbier The underclass and international comparison, variety and universalism That national traditions exist in sociology is an empirical fact, not even disputed by those who contend that sociology is, in principle, universal. Bourdieu, who is one of those, wrote his famous paper about the ‘international circulation of ideas’ in 2002. In it he only gave scarce empirical and mostly anecdotal evidence, mainly drawn from his own experience as a dominant scholar in the international sociology ‘field’; on the other hand, he stated unequivocally the
recruit comparison samples who were not registered sports participants, including participants in informal sports or physical activity, and non-participants in any form of sports or physical activity. As a result of the modes of recruitment, and the difficulty of engaging potential inactive respondents to complete a survey largely focused on sports and physical activity, the
Baldwin’s The Devil Finds Work (1976) has proven challenging since its publication because readers and critics have trouble classifying it. The challenge may be related to a common feature of Baldwin criticism, namely a tendency to compare late career works to early ones and to find them lacking: the experimental nature of later works of nonfiction like No Name in the Street (1972), The Devil Finds Work, and The Evidence of Things Not Seen (1985) does not square easily with the more conventional essays that made Baldwin famous in his early years. I attempt to reframe The Devil Finds Work not through a comparison to other Baldwin essays, but rather through a comparison to his fiction, specifically the novel Giovanni’s Room. I posit that a greater appreciation for Devil can result from thinking of it as a story, specifically the story of a failed love affair.
This essay reads the opening of Marcel Proust‘s In Search of Lost Time against its high-modernist reception history to recover its Gothic unconscious. My argument first traces the repressed horror tale at the heart of ‘Combray I’ by foregrounding tropes of fear and imprisonment; I then recontextualize Proust within the Gothic tradition, drawing explicit comparisons to Poe and Radcliffe. I suggest that the narrators invocation and subsequent repression of Gothic forces, in particular of the uncanny, constitutes the novels primal dialectic and plays a constitutive role in the dramas of memory and desire.