Performance autoethnography [Elektronische Ressource] critical pedagogy and the politics of culture

• 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 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 
• Act 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 
• Literary 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 

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