Performance autoethnography : critical pedagogy and the politics of culture /

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Detaylı Bibliyografya
Yazar: Denzin, Norman K. (Yazar)
Materyal Türü: Kitap
Baskı/Yayın Bilgisi: Abingdon, Oxon ; New York, NY : Routledge, 2018.
Edisyon:Second edition.
Konular:

MARC

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100 1 |a Denzin, Norman K.,  |e author.  |9 18784 
245 1 0 |a Performance autoethnography :  |b critical pedagogy and the politics of culture /  |c Norman K. Denzin. 
250 |a Second edition. 
264 1 |a Abingdon, Oxon ;  |a New York, NY :  |b Routledge,  |c 2018. 
300 |a xii, 310 pages ;  |c 24 cm 
501 |a P.B 
504 |a Includes bibliographical references (pages [269]-302) and index. 
505 |a Cover; 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 historyWorking 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 StandIn 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; Act Three: Scene One: Whose performance poetic? Act Three: Scene Two: Situating the Theatre of the OppressedAct 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 resistanceAct 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. Toggle expanding/contracting information section Reviews 
650 0 |a Critical pedagogy.  |9 18785 
650 0 |a Ethnology  |x Biographical methods.  |9 18786 
650 0 |a Social interaction. 
650 7 |a Critical pedagogy.  |9 18787 
650 7 |a Ethnology  |x Biographical methods.  |9 18788 
650 7 |a Social interaction. 
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942 |c BK 
952 |0 0  |1 0  |2 lcc  |4 0  |6 GN03466 D47 02018  |7 0  |8 OSH  |9 2396  |a SPAA2  |b SPAA  |c On Shelves  |d 2022-02-02  |l 0  |o GN346.6 D47 2018  |p 0002571  |r 2025-03-10 00:00:00  |w 2022-02-02  |y BK 
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