Empathy and dialogue: Embracing the art of creative review

Q1 Arts and Humanities
Priyanka Borpujari, Ian M. Cook, Çiçek İlengiz, Fiona Murphy, Julia Öffen, Johann Sander Puustusmaa, Eva van Roekel, Richard Thornton, Susan Wardell
{"title":"Empathy and dialogue: Embracing the art of creative review","authors":"Priyanka Borpujari,&nbsp;Ian M. Cook,&nbsp;Çiçek İlengiz,&nbsp;Fiona Murphy,&nbsp;Julia Öffen,&nbsp;Johann Sander Puustusmaa,&nbsp;Eva van Roekel,&nbsp;Richard Thornton,&nbsp;Susan Wardell","doi":"10.1111/anhu.12536","DOIUrl":null,"url":null,"abstract":"<p>Imagine the moment you first encounter a piece of creative ethnography—a poem, a performance, an image—that speaks to the heart of human experience in ways that traditional academic texts rarely do. It moves you, challenges you, perhaps unsettles you. But what happens next? Do you simply appreciate the work and walk away, or is there something deeper at stake in this encounter? What if, instead, we view this moment as an invitation—a call to engage in the same kind of rigorous dialogue that shapes the world of scholarly research, but with a spirit of openness and collaboration?</p><p>Creative work, like traditional scholarship, thrives on exchange, and peer review, is not just a procedural task. It is an act of co-creation, a chance to enter into conversation with the work and its creator, to shape and be shaped by the process. What if we could reimagine peer review not as a box-ticking exercise, but as a space for creative and intellectual growth—for both the reviewer and the reviewed?</p><p>This is where we begin: with the idea that peer review, when applied to creative anthropology, can be a transformative practice, one that pushes beyond the rigid confines of conventional academic evaluation and into something more expansive, more generous. But how do we get there? How do we move from skepticism to possibility, from critique to collaboration?</p><p>Creative work in anthropology is far from a new phenomenon. For as long as there have been anthropologists, there have been those who've felt the itch to push beyond academic forms, to scratch at the edges of what's possible, to seek out other ways of evoking the complexity of life. These anthropologists have always been there, quietly or boldly experimenting with mediums outside the standard forms of the journal article and monograph—exploring poetry, visual art, performance, film. But still, we know there are those who will scoff, who will say this isn't “real” anthropology. And we also know that “creative” as a term is loaded with its own set of assumptions, its own baggage—romanticized, dismissed, misunderstood, or misused.</p><p>Perhaps we might call these works “non-standard,” or “experimental,” or simply “other” but we think that would disregard the long presence of the creative in anthropology. Some are breaking new ground; others are drawing from established artistic genres but are still perceived as unconventional within the discipline proper. But here's the thing—there's a long history in anthropology of seeing writing itself as more than just a way to present findings. Writing is part of the process, a way of thinking through the work, of evoking the experiences of life. So why wouldn't these forms of writing, or alternative modes of communication, open up new ways of knowing? Creative texts aren't just about describing the world more evocatively; they too are about exploring, analyzing, and theorizing.</p><p>We're not suggesting that creative anthropology is superior to the traditional forms we're familiar with. But we <i>are</i> making the case that it is <i>equal</i>. These works often ask the same questions, engage with the same intellectual challenges—they just take different routes to get there. That's why we need to take creative works seriously, holding them to the same standards of rigor and commitment as any other scholarly output, while also respecting the specific tools and strategies they bring to bear. A peer review process that honors such equality doesn't lower the bar—it <i>expands the field</i>.</p><p>Anthropology, after all, never follows a single road. Its research takes us down countless forked paths, so why shouldn't our modes of communicating follow suit? We advocate for diversity and plurality not just in what we study, but also in how we articulate our findings. Some may find deep pleasure in the rigor of academic prose, while others will struggle with its density, looking for another way in. Creative anthropology has the potential to show us that all scholarly work involves creativity—and to push us to broaden our definition of what counts as “creative” or “scholarly” in the first place, to open up what can be acknowledged as knowledge.</p><p>Creative work, by its very nature, complicates the politics of citation, as it pushes against the rigid boundaries that define legitimacy in academic discourse. By overlooking creative forms as <i>scholarly</i> texts, we risk reinforcing the same exclusionary hierarchies that have long marginalized voices based on race, gender, and other identities, further entrenching narrow definitions of knowledge and authority in the field. Reviewing creative work, then, becomes a radical act—one that can challenge the very foundation of what is considered “knowledge” in anthropology, by allowing this work to be taken seriously and cited by other scholars. Indeed, to cite creative work is to validate it as part of the scholarly ecosystem. This validation is crucial not just for the recognition of individual scholars but for the broader recognition of creative methodologies as legitimate forms of anthropological inquiry.</p><p>We don't intend to settle debates about the boundaries between fiction and ethnography, art and anthropology, or other similar debates, though we also don't aim to dissolve them entirely. Instead, we argue that the creative process—undertaken with ethical and intellectual seriousness—is “proper” anthropology too. It demands the same political and scholarly accountability. It holds the same responsibility to interlocutors and contributors. And it offers contributions to anthropological knowledge that are no less substantive, often through affective or non-rational modes of argumentation. There's more potential: creative work can make anthropology accessible, engaging not just fellow scholars but students, wider publics, and those on the edges of academic life.</p><p>Finally, we believe that subjecting creative work to rigorous peer review enhances its legitimacy within the field. If we truly see value in these pieces, then they should be equally citable, and worthy of being included in the scholarly conversation. These outputs should sit equally on CVs, count toward promotions, and be recognized as rigorous, specialized contributions to anthropology. The peer review process—through dialogue, revision, and critical reflection—ensures that creative work meets the high standards we expect of all scholarship.</p><p>Who, then, is best positioned to review creative work? (see our Allegra and A and H creative peer review guides here) The answer does not rest solely with those who have mastery over a particular genre or technical expertise. In fact, there is a compelling argument that approaching a creative piece from a place of “non-understanding” can be advantageous. Much like seasoned scholars grappling with dense theoretical texts or abstract ideas, reviewers of creative work may find that their struggle with the unfamiliar yields insights that those immersed in the technical details of the genre might overlook. This discomfort or disorientation, rather than being a flaw, opens up new spaces for interpretation and fresh questions about the nature of meaning, form, and the boundaries of inquiry within anthropology.</p><p>Creative work resists easy comprehension or neat categorization. It is designed to provoke, unsettle, and disrupt. A reviewer who acknowledges that they do not fully “get” the piece, but remains open to its experience, may be in an ideal position to engage in the kind of generative dialogue that creative work demands. Much like engaging with a scholarly text laden with impenetrable jargon, the challenge of creative work invites the reviewer to look beyond the surface, to ask not only what the work is but what it does—how it moves, how it unsettles, what it makes possible. In this way, creative work defies any fixed or final reading, and so too should its review process.</p><p>This is why creative review should not be the exclusive domain of genre specialists. It belongs to anyone attuned to the value of exploration, imagination, and dialogue within scholarly work. The reviewer's role is not to master the work or decipher it fully but to engage thoughtfully with the possibilities it presents. What does the work provoke? What conversations does it inspire? What forms of knowledge and experience does it disrupt or make visible? These are the critical questions in reviewing creative work, and they shift the emphasis from technical precision to intellectual engagement. In doing so, they democratize the role of the reviewer and invite a broader community of scholars into the conversation. What if we considered creative work as a legitimate site for theory-making, for pushing the boundaries of what anthropology can be? Embracing this approach, the reviewer's role is not merely evaluative but participatory. They become co-creators of meaning, shaping the discourse around the work in ways that invite further inquiry.</p><p>This shift forces us to reconsider what is deemed “reviewable” within anthropology. Just as anthropology has expanded its methodological toolkit to include forms such as ethnographic film, graphic narratives, and performance, so too must its modes of critique evolve. Reviewers must engage with the spirit of creative work—its explorations, its risks, and its refusal to fit neatly within existing paradigms.</p><p>Creative review demands a shift in the culture of peer review itself. Traditionally, the process has been framed as an exercise in gatekeeping, a method to uphold scholarly standards by evaluating a work's methodological rigor or theoretical contribution. But when it comes to creative work, the review process must become more dialogical, more open-ended. In fact, the very act of reviewing creative work might lead reviewers to reconsider their own assumptions about what constitutes anthropology. Engaging with creative work can bring to light the tensions between form and content, between the visual, auditory, or performative elements of a piece and its anthropological significance. To review creative work is to participate in an ongoing conversation—one that acknowledges the fallibility of understanding, the provisionality of interpretation, and the generative possibilities of intellectual and creative exchange. In this way, creative peer review becomes a vital part of anthropology's future, pushing the discipline toward a more expansive, inclusive, and imaginative horizon.</p><p>Peer reviewing of creative anthropological work requires a particular mode of encounter. It is an invitation, an attempt to foster imagination; both of the individual creators and readers, and of the discipline as a whole. We posit creative anthropological peer review as an exercise in critical empathy. Here, we follow Andrea Lobb's reading of “critical empathy” which attempts to recuperate some form of empathy while recognizing the “irreducible imbrication of empathy and power” (Lobb, <span>2017</span>, p. 1). In this vein, we can understand critical empathy as an act that involves both emotional and intellectual resonance, one that remains acutely conscious of power relations. This form of empathy is not passive; it requires stepping beyond observation and into an embodied sense of another's experience, feeling its way forward without losing sight of context or consequence. It is about actively engaging with the layers of meaning, the tensions, and the unresolved questions that the work presents.</p><p>Hollan and Throop (2008, p. 387) describe empathy as a “first-person-like perspective on another that involves an emotional, embodied, or experiential aspect.” When we produce creative work, we reveal parts of ourselves—our uncertainties, our questions, our dreams—that may not fit neatly within academic frameworks. This act of exposure is both risky and courageous, requiring us to confront and perhaps change our assumptions about knowledge, expertise, and authority. In the context of creative peer review, empathy might then mean that reviewers aim to not only appreciate the form and content of a piece, but also imagine themselves into the world it presents, being mindful of how power structures shape both the production and reception of the work. It requires a balance between feeling and understanding—a fusion of emotional attunement and analytical insight. This can look like a willingness to engage with the work on its own terms, to sit with ambiguity, and to recognize that their role is not to dictate but to dialogue, to respond, and to nurture.</p><p>Critical empathy requires immersion in a piece of work, an opening of sensibilities that values the textures, rhythms, tensions and nuances in form, approach, and representation. It's an act of seeing beyond the surface, recognizing the layers of thought, emotion, and craft that have gone into creating something that defies traditional academic genres and boundaries. In this way, the review becomes more than an evaluation; it's a conversation, one that respects the vulnerability embedded in creative work. Such a practice asks reviewers to lean into ambiguity, to honor what might be unresolved or provocative, rather than taming it to fit familiar categories. Here, the act of review itself transforms—no longer merely a judgment, but an act of care and discernment, and of recognition of both the piece and the person. When reviewers allow themselves to be touched by the work's textures and echoes, they uphold a generosity that mirrors the openness required to produce it.</p><p>Critical empathy requires imagination; the two are co-constitutive. To be an empathetic reviewer, one must be able to imagine the deeper lifeworld which the artist is revealing. Good art always demands imaginative interpretation from its audience, <i>it shows</i> but does not tell. Just as the art works to open the imagination of its audience, the reviewer must allow their artistic intuition, heart, and spirit to <i>inform</i> their critical feedback. Nurturing critical empathy in ourselves and others demands more than simply listening or understanding—it requires us to engage with complexity, to allow creative work to challenge and reshape our perspectives. It is an intellectual and emotional practice, one that insists on confronting ambiguity and sitting with the tensions that arise from creative expression. To foster critical empathy is to open ourselves to the rigorous work of interpretation while maintaining an openness to being changed in the process. In this way, critical empathy becomes a tool for expanding the boundaries of scholarship and deepening our collective inquiry, all while preserving the intellectual rigor that drives creative and anthropological pursuits.</p><p>Critical empathy also acknowledges the fallibility of understanding. Just as Hollan and Throop (<span>2008</span>) note, the limits of empathic engagement is that it is always an incomplete and dialogical process. Reviewers should thus approach creative work with the humility to know that their interpretations are only one possible reading. This recognition creates space for a creative peer review process that is expansive, one that values creative exploration as a legitimate form of knowledge production. Recognizing the limitations of our own interpretations thus invites a more expansive, thoughtful approach to peer review—one that embraces creative work not as a puzzle to be solved, but as a space for ongoing inquiry and dialogue, and for shared discovery. A space for exploration rather than resolution. By valuing creative exploration as a legitimate form of knowledge production in this way, we open ourselves to a more dynamic and flexible understanding of scholarship. This approach shifts the role of the reviewer from gatekeeper to a participant or collaborator, which in turn can help foster an intellectual environment where both critique and creativity thrive.</p><p>Creative pieces aren't problems to be solved, but opportunities to think differently, to expand the ways we approach knowledge production. Empathy here is not about softening critique, but about understanding the work on its own terms, with intellectual openness. In this way, we shift the field toward a more inclusive and dynamic form of scholarship, one that honors the intertwined nature of creativity, theory, and inquiry. By doing so, we acknowledge the richness that comes from working across forms and voices, allowing anthropology to continue evolving in ways that are both rigorous and capacious.</p><p>Imagine now that you are reading a review of your own creative anthropological piece. What does it mean for you to have this feedback? How does it feel to read it? How can you take it forward now, to respond and revise? Could you be as open to their reflections as they (hopefully) were to your work? It's a scary process putting our creative work into the world, and that's why we need a supportive and generous community in which to do it. We hope that our ruminations on creative anthropology in the text above inspire you to not open up to review creatively, but also to take the creative path in anthropology ourselves.</p><p>It suggests an approach that doesn't simply preserve what's “new” in anthropology but crafts an ethos of hospitality, where knowledge is held loosely enough to accommodate perspectives that conventional frameworks might dismiss as indeterminate or incomplete. What emerges is an anthropology alert to the unsettled, the tentative, and the contingent—an approach capable of capturing the world's complexity without flattening it into certainty. As such creative work doesn't merely find a place in the field to settle; it reshapes it, infusing it with an ethical commitment to encounter rather than enclosure. This is not a project of inclusion but of transformation, a practice that keeps anthropology alive to the world it seeks to know.</p>","PeriodicalId":53597,"journal":{"name":"Anthropology and Humanism","volume":"49 2","pages":"83-87"},"PeriodicalIF":0.0000,"publicationDate":"2024-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/anhu.12536","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Anthropology and Humanism","FirstCategoryId":"1085","ListUrlMain":"https://onlinelibrary.wiley.com/doi/10.1111/anhu.12536","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q1","JCRName":"Arts and Humanities","Score":null,"Total":0}
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Abstract

Imagine the moment you first encounter a piece of creative ethnography—a poem, a performance, an image—that speaks to the heart of human experience in ways that traditional academic texts rarely do. It moves you, challenges you, perhaps unsettles you. But what happens next? Do you simply appreciate the work and walk away, or is there something deeper at stake in this encounter? What if, instead, we view this moment as an invitation—a call to engage in the same kind of rigorous dialogue that shapes the world of scholarly research, but with a spirit of openness and collaboration?

Creative work, like traditional scholarship, thrives on exchange, and peer review, is not just a procedural task. It is an act of co-creation, a chance to enter into conversation with the work and its creator, to shape and be shaped by the process. What if we could reimagine peer review not as a box-ticking exercise, but as a space for creative and intellectual growth—for both the reviewer and the reviewed?

This is where we begin: with the idea that peer review, when applied to creative anthropology, can be a transformative practice, one that pushes beyond the rigid confines of conventional academic evaluation and into something more expansive, more generous. But how do we get there? How do we move from skepticism to possibility, from critique to collaboration?

Creative work in anthropology is far from a new phenomenon. For as long as there have been anthropologists, there have been those who've felt the itch to push beyond academic forms, to scratch at the edges of what's possible, to seek out other ways of evoking the complexity of life. These anthropologists have always been there, quietly or boldly experimenting with mediums outside the standard forms of the journal article and monograph—exploring poetry, visual art, performance, film. But still, we know there are those who will scoff, who will say this isn't “real” anthropology. And we also know that “creative” as a term is loaded with its own set of assumptions, its own baggage—romanticized, dismissed, misunderstood, or misused.

Perhaps we might call these works “non-standard,” or “experimental,” or simply “other” but we think that would disregard the long presence of the creative in anthropology. Some are breaking new ground; others are drawing from established artistic genres but are still perceived as unconventional within the discipline proper. But here's the thing—there's a long history in anthropology of seeing writing itself as more than just a way to present findings. Writing is part of the process, a way of thinking through the work, of evoking the experiences of life. So why wouldn't these forms of writing, or alternative modes of communication, open up new ways of knowing? Creative texts aren't just about describing the world more evocatively; they too are about exploring, analyzing, and theorizing.

We're not suggesting that creative anthropology is superior to the traditional forms we're familiar with. But we are making the case that it is equal. These works often ask the same questions, engage with the same intellectual challenges—they just take different routes to get there. That's why we need to take creative works seriously, holding them to the same standards of rigor and commitment as any other scholarly output, while also respecting the specific tools and strategies they bring to bear. A peer review process that honors such equality doesn't lower the bar—it expands the field.

Anthropology, after all, never follows a single road. Its research takes us down countless forked paths, so why shouldn't our modes of communicating follow suit? We advocate for diversity and plurality not just in what we study, but also in how we articulate our findings. Some may find deep pleasure in the rigor of academic prose, while others will struggle with its density, looking for another way in. Creative anthropology has the potential to show us that all scholarly work involves creativity—and to push us to broaden our definition of what counts as “creative” or “scholarly” in the first place, to open up what can be acknowledged as knowledge.

Creative work, by its very nature, complicates the politics of citation, as it pushes against the rigid boundaries that define legitimacy in academic discourse. By overlooking creative forms as scholarly texts, we risk reinforcing the same exclusionary hierarchies that have long marginalized voices based on race, gender, and other identities, further entrenching narrow definitions of knowledge and authority in the field. Reviewing creative work, then, becomes a radical act—one that can challenge the very foundation of what is considered “knowledge” in anthropology, by allowing this work to be taken seriously and cited by other scholars. Indeed, to cite creative work is to validate it as part of the scholarly ecosystem. This validation is crucial not just for the recognition of individual scholars but for the broader recognition of creative methodologies as legitimate forms of anthropological inquiry.

We don't intend to settle debates about the boundaries between fiction and ethnography, art and anthropology, or other similar debates, though we also don't aim to dissolve them entirely. Instead, we argue that the creative process—undertaken with ethical and intellectual seriousness—is “proper” anthropology too. It demands the same political and scholarly accountability. It holds the same responsibility to interlocutors and contributors. And it offers contributions to anthropological knowledge that are no less substantive, often through affective or non-rational modes of argumentation. There's more potential: creative work can make anthropology accessible, engaging not just fellow scholars but students, wider publics, and those on the edges of academic life.

Finally, we believe that subjecting creative work to rigorous peer review enhances its legitimacy within the field. If we truly see value in these pieces, then they should be equally citable, and worthy of being included in the scholarly conversation. These outputs should sit equally on CVs, count toward promotions, and be recognized as rigorous, specialized contributions to anthropology. The peer review process—through dialogue, revision, and critical reflection—ensures that creative work meets the high standards we expect of all scholarship.

Who, then, is best positioned to review creative work? (see our Allegra and A and H creative peer review guides here) The answer does not rest solely with those who have mastery over a particular genre or technical expertise. In fact, there is a compelling argument that approaching a creative piece from a place of “non-understanding” can be advantageous. Much like seasoned scholars grappling with dense theoretical texts or abstract ideas, reviewers of creative work may find that their struggle with the unfamiliar yields insights that those immersed in the technical details of the genre might overlook. This discomfort or disorientation, rather than being a flaw, opens up new spaces for interpretation and fresh questions about the nature of meaning, form, and the boundaries of inquiry within anthropology.

Creative work resists easy comprehension or neat categorization. It is designed to provoke, unsettle, and disrupt. A reviewer who acknowledges that they do not fully “get” the piece, but remains open to its experience, may be in an ideal position to engage in the kind of generative dialogue that creative work demands. Much like engaging with a scholarly text laden with impenetrable jargon, the challenge of creative work invites the reviewer to look beyond the surface, to ask not only what the work is but what it does—how it moves, how it unsettles, what it makes possible. In this way, creative work defies any fixed or final reading, and so too should its review process.

This is why creative review should not be the exclusive domain of genre specialists. It belongs to anyone attuned to the value of exploration, imagination, and dialogue within scholarly work. The reviewer's role is not to master the work or decipher it fully but to engage thoughtfully with the possibilities it presents. What does the work provoke? What conversations does it inspire? What forms of knowledge and experience does it disrupt or make visible? These are the critical questions in reviewing creative work, and they shift the emphasis from technical precision to intellectual engagement. In doing so, they democratize the role of the reviewer and invite a broader community of scholars into the conversation. What if we considered creative work as a legitimate site for theory-making, for pushing the boundaries of what anthropology can be? Embracing this approach, the reviewer's role is not merely evaluative but participatory. They become co-creators of meaning, shaping the discourse around the work in ways that invite further inquiry.

This shift forces us to reconsider what is deemed “reviewable” within anthropology. Just as anthropology has expanded its methodological toolkit to include forms such as ethnographic film, graphic narratives, and performance, so too must its modes of critique evolve. Reviewers must engage with the spirit of creative work—its explorations, its risks, and its refusal to fit neatly within existing paradigms.

Creative review demands a shift in the culture of peer review itself. Traditionally, the process has been framed as an exercise in gatekeeping, a method to uphold scholarly standards by evaluating a work's methodological rigor or theoretical contribution. But when it comes to creative work, the review process must become more dialogical, more open-ended. In fact, the very act of reviewing creative work might lead reviewers to reconsider their own assumptions about what constitutes anthropology. Engaging with creative work can bring to light the tensions between form and content, between the visual, auditory, or performative elements of a piece and its anthropological significance. To review creative work is to participate in an ongoing conversation—one that acknowledges the fallibility of understanding, the provisionality of interpretation, and the generative possibilities of intellectual and creative exchange. In this way, creative peer review becomes a vital part of anthropology's future, pushing the discipline toward a more expansive, inclusive, and imaginative horizon.

Peer reviewing of creative anthropological work requires a particular mode of encounter. It is an invitation, an attempt to foster imagination; both of the individual creators and readers, and of the discipline as a whole. We posit creative anthropological peer review as an exercise in critical empathy. Here, we follow Andrea Lobb's reading of “critical empathy” which attempts to recuperate some form of empathy while recognizing the “irreducible imbrication of empathy and power” (Lobb, 2017, p. 1). In this vein, we can understand critical empathy as an act that involves both emotional and intellectual resonance, one that remains acutely conscious of power relations. This form of empathy is not passive; it requires stepping beyond observation and into an embodied sense of another's experience, feeling its way forward without losing sight of context or consequence. It is about actively engaging with the layers of meaning, the tensions, and the unresolved questions that the work presents.

Hollan and Throop (2008, p. 387) describe empathy as a “first-person-like perspective on another that involves an emotional, embodied, or experiential aspect.” When we produce creative work, we reveal parts of ourselves—our uncertainties, our questions, our dreams—that may not fit neatly within academic frameworks. This act of exposure is both risky and courageous, requiring us to confront and perhaps change our assumptions about knowledge, expertise, and authority. In the context of creative peer review, empathy might then mean that reviewers aim to not only appreciate the form and content of a piece, but also imagine themselves into the world it presents, being mindful of how power structures shape both the production and reception of the work. It requires a balance between feeling and understanding—a fusion of emotional attunement and analytical insight. This can look like a willingness to engage with the work on its own terms, to sit with ambiguity, and to recognize that their role is not to dictate but to dialogue, to respond, and to nurture.

Critical empathy requires immersion in a piece of work, an opening of sensibilities that values the textures, rhythms, tensions and nuances in form, approach, and representation. It's an act of seeing beyond the surface, recognizing the layers of thought, emotion, and craft that have gone into creating something that defies traditional academic genres and boundaries. In this way, the review becomes more than an evaluation; it's a conversation, one that respects the vulnerability embedded in creative work. Such a practice asks reviewers to lean into ambiguity, to honor what might be unresolved or provocative, rather than taming it to fit familiar categories. Here, the act of review itself transforms—no longer merely a judgment, but an act of care and discernment, and of recognition of both the piece and the person. When reviewers allow themselves to be touched by the work's textures and echoes, they uphold a generosity that mirrors the openness required to produce it.

Critical empathy requires imagination; the two are co-constitutive. To be an empathetic reviewer, one must be able to imagine the deeper lifeworld which the artist is revealing. Good art always demands imaginative interpretation from its audience, it shows but does not tell. Just as the art works to open the imagination of its audience, the reviewer must allow their artistic intuition, heart, and spirit to inform their critical feedback. Nurturing critical empathy in ourselves and others demands more than simply listening or understanding—it requires us to engage with complexity, to allow creative work to challenge and reshape our perspectives. It is an intellectual and emotional practice, one that insists on confronting ambiguity and sitting with the tensions that arise from creative expression. To foster critical empathy is to open ourselves to the rigorous work of interpretation while maintaining an openness to being changed in the process. In this way, critical empathy becomes a tool for expanding the boundaries of scholarship and deepening our collective inquiry, all while preserving the intellectual rigor that drives creative and anthropological pursuits.

Critical empathy also acknowledges the fallibility of understanding. Just as Hollan and Throop (2008) note, the limits of empathic engagement is that it is always an incomplete and dialogical process. Reviewers should thus approach creative work with the humility to know that their interpretations are only one possible reading. This recognition creates space for a creative peer review process that is expansive, one that values creative exploration as a legitimate form of knowledge production. Recognizing the limitations of our own interpretations thus invites a more expansive, thoughtful approach to peer review—one that embraces creative work not as a puzzle to be solved, but as a space for ongoing inquiry and dialogue, and for shared discovery. A space for exploration rather than resolution. By valuing creative exploration as a legitimate form of knowledge production in this way, we open ourselves to a more dynamic and flexible understanding of scholarship. This approach shifts the role of the reviewer from gatekeeper to a participant or collaborator, which in turn can help foster an intellectual environment where both critique and creativity thrive.

Creative pieces aren't problems to be solved, but opportunities to think differently, to expand the ways we approach knowledge production. Empathy here is not about softening critique, but about understanding the work on its own terms, with intellectual openness. In this way, we shift the field toward a more inclusive and dynamic form of scholarship, one that honors the intertwined nature of creativity, theory, and inquiry. By doing so, we acknowledge the richness that comes from working across forms and voices, allowing anthropology to continue evolving in ways that are both rigorous and capacious.

Imagine now that you are reading a review of your own creative anthropological piece. What does it mean for you to have this feedback? How does it feel to read it? How can you take it forward now, to respond and revise? Could you be as open to their reflections as they (hopefully) were to your work? It's a scary process putting our creative work into the world, and that's why we need a supportive and generous community in which to do it. We hope that our ruminations on creative anthropology in the text above inspire you to not open up to review creatively, but also to take the creative path in anthropology ourselves.

It suggests an approach that doesn't simply preserve what's “new” in anthropology but crafts an ethos of hospitality, where knowledge is held loosely enough to accommodate perspectives that conventional frameworks might dismiss as indeterminate or incomplete. What emerges is an anthropology alert to the unsettled, the tentative, and the contingent—an approach capable of capturing the world's complexity without flattening it into certainty. As such creative work doesn't merely find a place in the field to settle; it reshapes it, infusing it with an ethical commitment to encounter rather than enclosure. This is not a project of inclusion but of transformation, a practice that keeps anthropology alive to the world it seeks to know.

同理心和对话:拥抱创造性评论的艺术
想象一下,当你第一次接触到一篇创造性的民族志作品——一首诗,一场表演,一幅图像——它以传统学术文本很少做的方式讲述了人类经验的核心。它感动你,挑战你,也许让你不安。但接下来会发生什么呢?你只是欣赏他的工作,然后走开,还是在这次会面中有更深层次的东西?相反,如果我们把这一时刻看作是一种邀请——一种呼吁,以开放和合作的精神,参与塑造学术研究世界的那种严谨的对话呢?创造性的工作,像传统的学术一样,在交流和同行评议中蓬勃发展,不仅仅是一个程序性的任务。这是一种共同创造的行为,是与作品及其创作者进行对话的机会,是塑造和被塑造的机会。如果我们可以重新设想同行评议,而不是一个打勾的练习,而是一个创造性和智力增长的空间——对评议者和被评议者都是如此?这就是我们开始的地方:同行评议,当应用于创造性人类学时,可以是一种变革性的实践,它超越了传统学术评估的严格限制,进入更广阔、更慷慨的领域。但我们怎么才能做到呢?我们如何从怀疑转向可能性,从批判转向合作?人类学中的创造性工作并不是一个新现象。自从有人类学家以来,就一直有人渴望超越学术形式,在可能的边缘抓挠,寻找唤起生命复杂性的其他方式。这些人类学家一直在那里,悄悄地或大胆地尝试期刊文章和专著的标准形式之外的媒介-探索诗歌,视觉艺术,表演,电影。但是,我们知道有些人会嘲笑,他们会说这不是“真正的”人类学。我们也知道,“创造性”这个词承载着它自己的一套假设,它自己的包袱——被浪漫化、被忽视、被误解或被误用。也许我们可以称这些作品为“非标准的”、“实验性的”或简单地称为“其他的”,但我们认为,这将忽视在人类学中长期存在的创造性。有些正在开辟新天地;另一些人则从已确立的艺术流派中汲取灵感,但仍被认为是在学科领域内的另类。但事情是这样的——在人类学中,写作本身不仅仅是一种展示发现的方式,这已经有很长的历史了。写作是创作过程的一部分,是对作品的一种思考方式,是对生活体验的一种唤起。那么,为什么这些写作形式,或者其他的交流方式,不能开辟新的认识方式呢?创造性文本不只是描述世界更有感染力;它们也是关于探索、分析和理论化的。我们并不是说创造性人类学优于我们所熟悉的传统人类学。但我们要证明它是相等的。这些作品经常提出同样的问题,参与同样的智力挑战——它们只是走不同的路线到达那里。这就是为什么我们需要认真对待创造性作品,将它们与任何其他学术成果保持相同的严谨和承诺标准,同时也尊重它们所带来的具体工具和策略。尊重这种平等的同行评议过程并没有降低门槛——反而扩大了领域。毕竟,人类学从来不会走一条单一的道路。它的研究让我们走上了无数条分叉的道路,那么为什么我们的交流模式不应该效仿呢?我们提倡多样性和多元化,不仅在我们研究的内容上,而且在我们如何表达我们的发现上。有些人可能会在严谨的学术散文中找到深刻的乐趣,而另一些人则会在它的密度中挣扎,寻找另一种方式。创造性人类学有潜力向我们表明,所有的学术工作都涉及创造性,并推动我们首先拓宽对“创造性”或“学术”的定义,打开可以被承认为知识的东西。创造性工作,就其本质而言,使引用的政治复杂化,因为它推动了定义学术话语合法性的严格界限。通过忽视创造性形式作为学术文本,我们冒着强化同样的排他性等级制度的风险,这种等级制度长期以来一直将基于种族、性别和其他身份的声音边缘化,进一步巩固了该领域知识和权威的狭隘定义。因此,回顾创造性的工作就变成了一种激进的行为——通过允许其他学者认真对待和引用这些工作,它可以挑战人类学中被认为是“知识”的基础。事实上,引用创造性的工作就是证明它是学术生态系统的一部分。 这种验证不仅对个别学者的认可至关重要,而且对创造性方法作为人类学研究的合法形式的广泛认可也至关重要。我们不打算解决关于小说和人种学、艺术和人类学之间界限的争论,或者其他类似的争论,尽管我们也不打算完全消除它们。相反,我们认为,创造性的过程——以道德和智力的严肃态度进行——也是“适当的”人类学。它要求同样的政治和学术责任。它对对话者和供稿人负有同样的责任。它对人类学知识的贡献同样是实质性的,通常是通过情感或非理性的论证模式。还有更大的潜力:创造性的工作可以使人类学更容易接近,不仅吸引学者同行,还吸引学生、更广泛的公众和那些处于学术生活边缘的人。最后,我们认为,对创造性工作进行严格的同行审查可以增强其在该领域的合法性。如果我们真的看到了这些作品的价值,那么它们应该同样被引用,并且值得被纳入学术对话中。这些成果应该平等地出现在简历上,算作晋升,并被认为是对人类学严谨、专业的贡献。同行评议过程——通过对话、修改和批判性反思——确保创造性工作符合我们对所有奖学金的高标准要求。那么,谁是审查创造性工作的最佳人选?(参见我们的Allegra和A和H创意同行评议指南)答案并不仅仅取决于那些精通特定类型或技术专长的人。事实上,有一个令人信服的论点认为,从一个“不理解”的地方接近一个创造性的作品可能是有利的。就像经验丰富的学者努力研究密集的理论文本或抽象的思想一样,创造性作品的评论家可能会发现,他们在与不熟悉的事物的斗争中获得的见解,可能会被那些沉浸在该类型的技术细节中的人所忽视。这种不适或迷失方向,而不是一个缺陷,开辟了新的解释空间和新的问题,关于意义的本质,形式,以及人类学研究的界限。创造性工作不容易理解,也不容易分类。它的目的是挑衅、扰乱和破坏。一个承认自己没有完全“理解”作品,但对其经验保持开放态度的评论者,可能处于一个理想的位置,可以参与创造性工作所需要的那种生成对话。就像阅读一篇充满晦涩难懂行话的学术文章一样,创造性工作的挑战也会邀请审稿人透过表面,不仅要问作品是什么,还要问它做了什么——它是如何移动的,它是如何动摇的,它使什么成为可能。这样,创造性的作品不需要任何固定的或最终的阅读,它的审查过程也应该如此。这就是为什么创意评论不应该是题材专家的专属领域。它属于任何一个在学术工作中懂得探索、想象和对话价值的人。审稿人的角色不是掌握作品或完全解读它,而是深思熟虑地参与它所呈现的可能性。这项工作激起了什么?它激发了什么样的对话?它破坏了什么形式的知识和经验?这些是审查创造性工作的关键问题,它们将重点从技术上的精确转移到智力上的参与。在这样做的过程中,他们使审稿人的角色民主化,并邀请更广泛的学者社区参与对话。如果我们把创造性工作看作是理论创造的合法场所,看作是推动人类学所能达到的极限的场所呢?采用这种方法,审稿人的角色不仅仅是评估,而是参与。他们成为意义的共同创造者,以引发进一步探究的方式塑造围绕作品的话语。这种转变迫使我们重新考虑在人类学中什么是“可评论的”。正如人类学已经扩展了它的方法论工具包,包括诸如民族志电影、图形叙事和表演等形式,它的批判模式也必须发展。审稿人必须融入创造性工作的精神——它的探索,它的风险,以及它对现有范例的拒绝。创造性的评审需要同行评审文化本身的转变。传统上,这一过程被认为是一种把关的练习,一种通过评估作品的方法严谨性或理论贡献来维护学术标准的方法。但当涉及到创造性工作时,审查过程必须变得更具对话性,更加开放。事实上,评论创造性作品的行为可能会导致评论者重新考虑他们自己对人类学构成的假设。 从事创造性工作可以揭示形式与内容之间的紧张关系,以及作品的视觉、听觉或表演元素与其人类学意义之间的紧张关系。回顾创造性的工作就是参与一场持续的对话——一场承认理解的不准确性、解释的临时性以及智力和创造性交流的生成可能性的对话。通过这种方式,创造性的同行评议成为人类学未来的重要组成部分,将这门学科推向一个更广阔、更包容、更富有想象力的视野。对创造性人类学工作的同行评议需要一种特殊的相遇模式。这是一种邀请,一种培养想象力的尝试;无论是个体创作者和读者,还是整个学科。我们假定创造性人类学同行评议是一种批判性同理心的练习。在这里,我们遵循安德里亚·洛布(Andrea Lobb)对“批判性共情”(critical empathy)的解读,它试图恢复某种形式的共情,同时认识到“共情与权力的不可还原的交织”(Lobb, 2017, p. 1)。在这种情况下,我们可以将批判性共情理解为一种涉及情感和智力共鸣的行为,一种对权力关系保持敏锐意识的行为。这种形式的移情不是被动的;它需要超越观察,进入对他人体验的具体感受,在不忽视背景或后果的情况下摸索前进的道路。它是关于积极参与的意义层,紧张,和未解决的问题,工作呈现。Hollan和Throop(2008,第387页)将共情描述为“第一人称对另一个人的观点,涉及情感、具体化或经验方面。”当我们进行创造性的工作时,我们揭示了我们自己的一部分——我们的不确定性,我们的问题,我们的梦想——这些可能并不完全适合学术框架。这种暴露的行为既冒险又勇敢,要求我们面对并可能改变我们对知识、专业知识和权威的假设。在创造性同行评议的背景下,同理心可能意味着评议者不仅要欣赏一篇文章的形式和内容,还要把自己想象成它所呈现的世界,要注意权力结构如何塑造作品的生产和接受。它需要感觉和理解之间的平衡——情感调节和分析洞察力的融合。这看起来像是愿意按照自己的条件参与工作,坐在模棱两可中,并认识到他们的角色不是命令,而是对话,回应和培育。批判性同理心需要沉浸在一件作品中,一种感性的开放,重视形式、方法和表现中的纹理、节奏、紧张和细微差别。这是一种超越表面的行为,认识到思想、情感和工艺的层次,这些层次已经进入了创造一些挑战传统学术流派和界限的东西。这样,审查就不仅仅是一种评价;这是一场对话,一场尊重创造性工作中嵌入的脆弱性的对话。这种做法要求审稿人倾向于模棱两可,尊重可能未解决或具有挑衅性的内容,而不是将其驯服为熟悉的类别。在这里,评论的行为本身发生了变化,不再仅仅是一种判断,而是一种细心和辨别力的行为,一种对作品和人物都有认识的行为。当评论家允许自己被作品的纹理和回声所感动时,他们就会保持一种慷慨,这种慷慨反映了创作作品所需的开放性。批判性同理心需要想象力;这两者是共构的。要成为一个有同理心的评论家,必须能够想象艺术家所揭示的更深层次的生活世界。好的艺术总是需要观众富有想象力的诠释,它是展示而不是讲述。就像艺术作品打开观众的想象力一样,评论家必须让他们的艺术直觉、心灵和精神来告知他们的批评反馈。培养我们自己和他人的批判性同理心需要的不仅仅是倾听或理解——它需要我们参与到复杂性中,允许创造性的工作挑战和重塑我们的观点。这是一种智力和情感的实践,一种坚持面对模糊性并坐在创造性表达中产生的紧张的实践。培养批判性的同理心,就是让我们对严谨的解释工作敞开心扉,同时对在这个过程中被改变保持开放的心态。通过这种方式,批判性同理心成为扩大学术边界和深化我们的集体探究的工具,同时保持了推动创造性和人类学追求的智力严谨性。批判性同理心也承认理解是有错误的。 正如Hollan和Throop(2008)所指出的那样,共情参与的局限性在于它始终是一个不完整的对话过程。因此,审稿人应该谦虚地对待创造性的作品,知道他们的解释只是一种可能的阅读。这种认识为创造性的同行评审过程创造了空间,这一过程是广泛的,它将创造性探索视为知识生产的一种合法形式。因此,认识到我们自己的解释的局限性,就需要一种更广泛、更深思熟虑的同行评议方法——这种方法不把创造性工作视为一个有待解决的谜题,而是将其视为一个持续探索和对话的空间,以及一个共享发现的空间。一个用来探索而不是解决问题的空间。通过这种方式将创造性探索视为一种合法的知识生产形式,我们打开了对学术更有活力和更灵活的理解。这种方法将审稿人的角色从看门人转变为参与者或合作者,这反过来可以帮助培养一种智力环境,在这种环境中,批评和创造力都能蓬勃发展。创造性的作品不是需要解决的问题,而是以不同的方式思考的机会,扩展我们处理知识生产的方式。这里的同理心不是要软化批评,而是要以理智的开放,以作品本身的方式来理解作品。通过这种方式,我们将这个领域转向一种更具包容性和活力的学术形式,一种尊重创造力、理论和探究相互交织的本质的学术形式。通过这样做,我们认识到跨越形式和声音所带来的丰富性,使人类学继续以既严谨又宽敞的方式发展。想象一下,现在你正在阅读一篇关于你自己的创造性人类学作品的评论。得到这样的反馈对你来说意味着什么?读起来感觉如何?你现在该如何向前推进,做出回应和修改?你能像他们(希望)对待你的工作一样,对他们的反思持开放态度吗?将我们的创造性作品推向世界是一个可怕的过程,这就是为什么我们需要一个支持和慷慨的社区来做这件事。我们希望我们在上面的文本中对创造性人类学的反思能启发你,不仅要打开创造性的复习,还要走自己在人类学中的创造性道路。它提出了一种方法,不仅保留了人类学中的“新”,而且还创造了一种好客的精神,在这种精神中,知识的持有足够松散,可以容纳传统框架可能因不确定或不完整而被忽视的观点。由此出现的是一种对不稳定、不确定和偶然事物保持警惕的人类学——一种能够捕捉世界复杂性而又不会将其扁平化为确定性的方法。因为这样的创造性工作不仅仅是在这个领域找到一个位置来定居;它重塑了它,给它注入了一种相遇而不是封闭的道德承诺。这不是一个包容的项目,而是一种转变,一种使人类学在它试图了解的世界中保持活力的实践。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
Anthropology and Humanism
Anthropology and Humanism Arts and Humanities-Literature and Literary Theory
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