Konstfacks bibliotek

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*020  $a9781351659086
*035  $a(MiAaPQ)5351971
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*035  $a(CaPaEBR)11546726
*035  $a(OCoLC)1032716219
*035  $a(MiAaPQ)EBC5351971
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*050 4$aGN346.6 .D47 2018
*08200$a305.8
*1001 $aDenzin, Norman K.
*24510$aPerformance Autoethnography$bCritical Pedagogy and the Politics of Culture
*250  $a2
*264 1$aMilton$bRoutledge$c2018
*264 4$c©2018
*300  $a1 online resource (325 pages)
*336  $atext$btxt$2rdacontent
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*5050 $aCover -- Half Title -- Title Page -- Copyright Page -- Table of Contents -- Preface -- Acknowledgments -- Introduction -- Critical indigenous pedagogy -- The performance turn -- Coda -- Notes -- PART I: Performance autoethnography -- 1. Autoethnography as research redux -- Part One -- Interpretive aside: fieldwork as performance -- Part Two -- Part Three -- Notes -- 2. The call to performance -- Epiphanies and the sting of memory -- The sting of memory -- Process and performance -- Interpretive assumptions -- Liminality, ritual and the structure of the epiphany -- Mystory as montage -- Staging lives -- Back to the beginning -- Performing the text: writing to change history -- Working to transgress -- Notes -- 3. Performance pedagogy, culture, politics -- A MANIFESTO in the form of an abstract -- Defining terms -- Toward a performative ethnography -- Prologue -- Theatre and a politics of resistance -- Conclusions -- Notes -- PART II: An uneasy alliance: ethnography, performance, theatre -- 4. Performance ethnography -- A MANIFESTO in the form of an abstract -- Act One: Scene One: Exiles and evil worlds -- Act One: Scene Two: For a Theatre of the Oppressed -- Act One: Scene Two: Uneasy alliance: [auto] ethnodrama, ethnotheatre and reality theatre -- Act One: Scene Five [aside]: historical [auto] ethnodrama: Custer's Last Stand -- In conclusion -- Notes -- 5. Staging resistance as performance -- Act One: Scene One: History: starting out negative? -- Act One: Scene Two: A new language -- Act One: Scene Three: In the beginning: real guns? -- Act One: Scene Four: The dramaturgical model -- Act One: Scene Five: Into action: schools, slums -- Act Two: Scene One: Forms of the Theatre of the Oppressed -- Act Two: Scene Three: A new poetic, a new theatre -- Act Two: Scene Four: The stages of the Theatre of the Oppressed
*5058 $aAct Three: Scene One: Whose performance poetic? -- Act Three: Scene Two: Situating the Theatre of the Oppressed -- Act Three: Scene Two: a new social theatre -- Act Three: Scene Three: Lessons learned -- Act Three: Scene Four: Ethical injunctions -- Act Three: Scene Five: Hope -- In conclusion -- Notes -- 6. Performing critical pedagogy -- Prologue -- Act One: Scene One: The many ghosts of Paulo Freire -- Act One: Scene Two: Terror, the military coup and jail -- Act One: Scene Three: Life as an exile -- Act One: Scene Four: Lessons from Paulo -- Act Two: Scene One: Performing hope, love, peace -- Act Two: Scene Two: An autoethnographic aside -- Act Two: Scene Three: Performing resistance -- Act Two: Scene Four: Nothing lasts forever -- Act Two: Scene Five: Our only weapon -- Notes -- 7. Tangled up in praxis -- Act One: Scene One: Tangled up in theory -- Act One: Scene Two: Writing decolonizing autoethnographies -- Act One: Scene Three: The many pedagogies of Paulo Freire -- Act Three: Scene Four: Sovereignty, and governance -- Act Three: Scene Five: Exposed -- Act Three: Scene Seven: Pain -- Act Four: Scene One: Hope -- Act Four: Scene Two: Lunch in Lisbon, 1976 -- Coda -- Notes -- PART III: Toward a performative social science -- 8. The cinematic society and the reflexive interview -- The post-postmodern, cinematic society -- The birth of cinematic surveillance -- Studying the interview in the cinematic society -- Notes -- 9. Toward a performative social science -- Interpretive framework -- Performing the interview -- Anna Deavere Smith's project -- Performance writing -- Performing racial memories -- Conclusion -- Notes -- 10. Reading and writing performance -- Criticisms and responses: part one -- Criticisms and responses: part two -- Setting criteria for performance autoethnography -- Feminist, communitarian interpretive practices
*5058 $aLiterary and aesthetic criteria -- The politics of interpretation -- Into the future -- Notes -- PART IV: Performance texts: bone deep in landscapes -- 11. Grandma's story -- 12. A family tradition -- PART V: Pedagogy, politics and ethics -- 13. Critical performance pedagogy -- Announcement: Richard Rorty's 1998 Book Predicts 2016 U.S. Presidential Election -- Prologue -- America not at war with itself -- The critical imagination and pedagogies of hope -- A performative critical inquiry -- Critical performance pedagogy -- A reflexive critique of reflexive critical ethnography -- Conclusion -- Notes -- 14. A relational ethic for performance autoethnography, or in the forest but lost in the trees, or a one-act play with many endings -- A new day -- Disciplining and constraining ethical conduct -- Oral historians offer a solution -- Ethics and critical social science -- Path forward -- Ethical practices: a one act play -- Notes -- 15. Coda: In the beginning -- Back to Mils and Goffman -- Appendix: A genealogy of terms, moments and texts -- Bibliography -- Index
*588  $aDescription based on publisher supplied metadata and other sources.
*588  $aElectronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.
*650 0$aCritical pedagogy.
*650 0$aEthnology-Biographical methods.
*650 0$aSocial interaction.
*655 0$aElectronic books.
*77608$iPrint version:$aDenzin, Norman K.$tPerformance Autoethnography : Critical Pedagogy and the Politics of Culture$dMilton : Routledge,c2018$z9781138066281
*797  $aProQuest (Firm)
*852  $hTillgänglig inom Konstfack
*85640$uhttps://ebookcentral.proquest.com/lib/konstfack/detail.action?docID=5351971$zRead online / download
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This book is a manifesto. It is about rethinking performance autoethnography, about the formation of a critical performative cultural politics, about what happens when everything is already performative, when the dividing line between performativity and performance disappears. This is a book about the writing called autoethnography. It is also about what this form of writing means for writers who want to perform work that leads to social justice. Denzin's goal is to take the reader through the history, major terms, forms, criticisms and issues confronting performance autoethnography and critical interpretive. To that end many of the chapters are written as performance texts, as ethnodramas.

A single thesis organizes this book: the performance turn has been taken in the human disciplines and it must be taken seriously. Multiple informative performance models are discussed: Goffman's dramaturgy; Turner's performance anthropology; performance ethnographies by A. D. Smith, Conquergood, and Madison; Saldana's ethnodramas; Schechter's social theatre; Norris's playacting; Boal's theatre of the oppressed; and Freire's pedagogies of the oppressed. They represent different ways of staging and hence performing ethnography, resistance and critical pedagogy. They represent different ways of "imagining, and inventing and hence performing alternative imaginaries, alternative counter-performances to war, violence, and the globalized corporate empire" (Schechner 2015).

This book provides a systematic treatment of the origins, goals, concepts, genres, methods, aesthetics, ethics and truth conditions of critical performance autoethnography. Denzin uses the performance text as a vehicle for taking up the hard questions about reading, writing, performing and doing critical work that makes a difference.