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Preface | p. ix |
Acknowledgments | p. xiii |
Introduction to Critical Ethnography: Theory and Method | p. 1 |
Defining Terms: What Is the Critical in Critical Ethnography? | p. 5 |
Dialogue and Others | p. 10 |
The Method and Theory Nexus | p. 13 |
Summary | p. 15 |
Warm-Ups | p. 17 |
Methods: "Do I Really Need a Method?" A Method ... or Deep Hanging Out? | p. 19 |
"Who Am I?" Starting Where You Are | p. 21 |
"Who Else Has Written About My Topic?" Being a Part of an Interpretive Community | p. 22 |
The Power of Purpose: Bracketing Your Subject | p. 22 |
Preparing for the Field: The Research Design and Lay Summary | p. 24 |
The Research Design | p. 24 |
The Lay Summary | p. 25 |
Interviewing and Field Techniques | p. 27 |
Formulating Questions | p. 28 |
Two Classic Models | p. 29 |
One: The Patton Model | p. 29 |
Two: The Spradley Model | p. 31 |
Extra Tips for Formulating Questions | p. 33 |
More Models | p. 33 |
Initial Brainstorming and Puzzlements | p. 33 |
Memory and the Oral History Interview | p. 34 |
Langellier and Peterson's Four Entry Points of Analysis | p. 37 |
Attributes of the Interviewer and Building Rapport | p. 39 |
Mindful Rapport | p. 39 |
Anticipation | p. 39 |
Positive Naïveness | p. 39 |
Active Thinking and Sympathetic Listening | p. 40 |
Status Difference | p. 40 |
Patiently Probing | p. 40 |
Classic "Threats" | p. 41 |
Coding and Logging Data | p. 43 |
An Alternative View: Amira De La Garza and the Four Seasons of Ethnography | p. 45 |
Summary | p. 49 |
Warm-Ups | p. 49 |
Three Stories: Case Studies in Critical Ethnography | p. 51 |
Local Activism in West Africa | p. 52 |
Key Concepts in Postcolonial and Marxist Theory | p. 52 |
Key Concepts in Postcolonialism | p. 55 |
Key Concepts in Marxist Thought | p. 62 |
Secrets, Sexuality, and Oral History | p. 67 |
Key Concepts in Phenomenology | p. 70 |
Subjectivity and Belonging | p. 73 |
Biopolitics and Affect | p. 75 |
Key Concepts in Sexuality | p. 77 |
Community Theatre: Conflicts and Organization | p. 81 |
Key Concepts in Theories of Difference: Race | p. 84 |
Key Concepts in Theories of Difference: Gender | p. 89 |
Problems of Gender in the Field: "Women Like Us and Women Not Like Us" | p. 91 |
Warm-Ups | p. 93 |
Ethics | p. 95 |
Ethics Is ... | p. 96 |
Advocacy and Ethics | p. 97 |
Religion and Ethics | p. 102 |
Interview With Desmond Tutu | p. 102 |
The Question of Freedom | p. 107 |
Critical Ethnography and the Ethics of Reason, the Greater Good, and Others | p. 109 |
Reason | p. 109 |
The Greater Good | p. 111 |
Maria Lugones: Contemporary Ethics, Ethnography, and Loving Perception | p. 118 |
World Traveling and Loving Perception | p. 118 |
Summary | p. 123 |
Warm-Ups | p. 125 |
Methods and Ethics | p. 127 |
Codes of Ethics for Fieldwork | p. 128 |
Code of Ethics of the American Anthropological Association | p. 128 |
Extending the Codes | p. 137 |
Moral Dilemmas | p. 137 |
Conceptual Errors | p. 140 |
Dialogical Performance | p. 142 |
Warm-Ups | p. 146 |
Methods and Application: Three Case Studies in Ethical Dilemmas | p. 147 |
Local Activism in West Africa | p. 147 |
Advocacy, Representation, and Voice | p. 147 |
Method and Advocacy | p. 151 |
Secrets, Sexuality, and Oral History | p. 155 |
Trust, Confidentiality, and Informed Consent | p. 155 |
Method and Confidentiality | p. 158 |
Community Theatre: Conflicts and Organization | p. 160 |
Fairness, Critical Judgment, and Policy Implications | p. 160 |
Method and Criticism | p. 161 |
Warm-Ups | p. 163 |
Performance Ethnography | p. 165 |
Foundational Concepts in Performance and Social Theory | p. 166 |
Performance as Experience | p. 166 |
Performance as Social Behavior | p. 168 |
Performance as Language and Identity | p. 177 |
Performativity | p. 179 |
Utopian Performatives | p. 182 |
The Performance Interventions of Dwight Conquergood | p. 184 |
Process and Performance | p. 184 |
The Body and Scriptocentrism | p. 185 |
Dialogical Performance | p. 186 |
Cultural Politics | p. 187 |
Staging Ethnography and the Performance of Possibilities | p. 190 |
The Subjects | p. 191 |
The Audience | p. 193 |
The Performers | p. 195 |
Autoethnography and/or Reflexive Ethnography | p. 197 |
Three Examples of Critical Reflexivity in Autoethnography | p. 199 |
Warm-Ups | p. 208 |
It's Time to Write: Writing as Performance | p. 209 |
Getting Started: In Search of the Muse | p. 210 |
Research Questions and Statement of Purpose | p. 211 |
The Muse Map and the Road Map | p. 211 |
Schedules and Time Management | p. 213 |
First Draft and Free Writing | p. 216 |
The Anxiety of Writing: Wild Mind and Monkey Mind | p. 217 |
Continents, Islands, and the Editor | p. 218 |
Writing as Performance and Performance as Writing | p. 220 |
Performative Writing Is to Embrace | p. 220 |
Performative Writing Is to Enact | p. 223 |
Performative Writing Is to Embody | p. 227 |
Performative Writing Is to Effect | p. 230 |
Warm-Ups | p. 232 |
The Case Studies | p. 233 |
Staging Cultural Performance | p. 233 |
Why Did Joan Choose to Adopt and Direct a Cultural Performance From Her Fieldwork? | p. 234 |
How Did Joan Translate Her Fieldwork to the Stage? What Was Her Process? | p. 234 |
What Stage Techniques Did Joan Adapt? | p. 235 |
Did Joan Encourage a Collaborative Process in Directing the Performance? | p. 237 |
Could Joan Have Employed a More Collaborative Approach? | p. 238 |
Oral History and Performance | p. 238 |
What Is Poetic Transcription? | p. 239 |
Did Robert's Theoretical Analysis Threaten to Diminish the Living Voices and Perspectives of His Narrators? | p. 242 |
The Fieldwork of Social Drama and Communitas | p. 243 |
When Did the Breach Occur? | p. 244 |
How Did the Crisis Evolve? | p. 244 |
What Form Did Redressive Action Take? | p. 245 |
How Did Communitas Invoke Reintegration? | p. 246 |
Warm-Ups | p. 248 |
References | p. 249 |
Index | p. 271 |
About the Author | p. 285 |
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