Critical Pedagogy and the Politics of Culture
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Köp båda 2 för 997 krThis book is Norman K. Denzins most political and personal work, to date. Not only does he weave his encyclopedic knowledge of multiple disciplines into a compelling tour de force manifesto about performance, he intimately reveals his autoethnographic self through poignant family memories and a morally-driven agenda. Performance Autoethnography is a vibrant tribute to the field of performance studies scholarship, and to Denzins advocacy of it as a vital forum for individual and social change. Johnny Saldaa, Professor Emeritus, Arizona State University, School of Film, Dance, and Theatre When I downsize, I will need only one academic book: Norman Denzins Performance Autoethnography: Critical Pedagogy and the Politics of Culture, Second edition. At Last! A book that brings together diverse performance theories and practices into one genre-bending, ethically grounded, spirited text. It inspires social activist writing, reading, pedagogies and performances that can change the world into a radically just one. No one could have written this book but Norman Denzin. I know of no one who has his breadth of theoretical and methodological understanding of the issues facing research and teaching at this moment in history. His passion for justice, moreover, resounds on every page. Norman Denzin has deployed his incredible powers of analysis, writing, and ethical compassion. In a brilliant book, Performance Autoethnography: Critical Pedagogy and the Politics of Culture, Second edition, Denzin transforms the autoethnographic into the performative, the performative into the political, and the political into the possibility of a radical utopia with justice and freedom for all. The books accomplishments are breath-taking. This would be my Number 1 choice for any course in qualitative research, performance studies, sociology of culture, political sociology, visual arts, theater or the foundations of education. Rather than dividing disciplines into tidy boxes, Denzin has shown how these boxes are porous. Acting from a shared critical performance perspective, they can engage the worlds problems and work towards a radically just utopia. Everyone is invited to help change the world! Sometimes you just have to wait for what you need and want. I have needed and wanted an accessible way to connect-the-dots---theory, methods, social activism---that could resonate with students, traditional colleagues, and dubious friends. I have waited for this book. The wait is over. Thanks, Norman. Laurel Richardson, Professor Emeritus, The Ohio State University Denzins critical performance authoethnography suggests a critical performance pedagogy, which, in turn, creates spaces for a "more humane, pluralistic, and just racial order." He thus sets a tall order for himselfto critically examine the murky spaces of social and structural injustice and racial inequality through memory, story, and performance, all while making an urgent plea for a turn from performance to social justice. He delivers beautifully, masterfully, on his promise to make a strong case for a critically-informed performance autoethnography as socially transformative research praxis. Christopher N. Poulos, University of North Carolina at Greensboro In Performance Autoethnography, Norman Denzin advances a broad visionary agenda for the future of the interpretive human sciences. Laying theory and method on the line, Denzin anticipates and encourages refined and new forms of representation and expression that can at once embody and convey the dramaturgical nature of existence in ways that are absorbing, ethical, honest, and artful. Performance Autoethnography is a manifesto that appeals to the conscience of the social sciences. At stake is the future of critical performance autoethnography. Denzin seeks nothing less than a broadened autoethnographic science of heart and soul that seeks to transcend its own particularity in the pursuit of social justice and in
Norman K. Denzin is Distinguished Emeritus Research Professor of Communications at the University of Illinois, Urbana-Champaign, USA. He is the author, co-author or co-editor of over 50 books and 200 professional articles and chapters. He is the past President of The Midwest Sociological Society, and the Society for the Study of Symbolic Interaction. He is founding President of the International Association of Qualitative Inquiry (2005) and Director of the International Center of Qualitative Inquiry (2005). He is past editor of The Sociological Quarterly, founding co-editor of Qualitative Inquiry and founding editor of Cultural Studies Critical Methodologies, International Review of Qualitative Research and Studies in Symbolic Interaction: A Research Annual.
Preface Acknowledgments Introduction PART I. PERFORMANCE AUTOETHNOGRAPHY 1. Autoethnography as Research Redux 2. The Call to Performance 3 . Performance Pedagogy, Culture, Politics PART II. AN UNEASY ALLIANCE: ETHNOGRAPHY, PERFORMANCE, THEATRE 4. Performance Ethnography 5 Staging Resistance as Performance 6. Performing Critical Pedagogy 7. Tangled Up In Praxis PART III: TOWARD A PERFORMATIVE SOCIAL SCIENCE 8. The Cinematic Society and the Reflexive Interview 9. Toward a Performative Social Science 10. Reading and Writing Performance PART IV. PERFORMANCE TEXTS: BONE DEEP IN LANDSCAPES 11. Grandmas Story 12. A Family Tradition PART V PEDAGOGY, POLITICS AND ETHICS 13. Critical Performance Pedagogy 14. A Relational Ethic for Performance Autoethnography 15. CODA: In the Beginning Appendix A: A genealogy of terms, moments and texts Bibliography Index