Autoethnography and the other: unsettling power through utopian performatives
Autoethnography and the other: unsettling power through utopian performatives
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自我民族志与其他：通过乌托邦表演带来令人不安的力量
DOI：
10.1080/10462937.2018.1460488
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发表时间：
2018
影响因子：
0.5
通讯作者：
Summer R. Cunningham
中科院分区：
文献类型：
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作者：
Summer R. Cunningham
表示.谢谢Self.其他.差蓝调.相对性。可能性转型爵士乐.对于批判性表演（自动）民族志学家来说，“我”的政治和表征的伦理至少在过去四十年里一直是一个中心学科考虑因素，正如Spry在《自我民族志和他者》中所指出的那样，这些正在进行的对话仍然是理论和实践中未解决的方面。在定位的欲望的推动下，“表演性自我民族志中的一种自反性劳动，它以与自我相同的承诺来代表他者”（14-15），Spry的文本引入了一种由三部分组成的方法论，呼吁在自我民族志工作中重新概念化他者和自我，并为重新思考自我民族志实践本身的目标和可能性提供了基础。《自我民族志与他者》呼吁表演自我民族志作者超越表演性的“我”，谨慎地考虑“我们”，不是通过一个抹去差异或历史的过程，而是通过一种乌托邦式的表演方法，要求我们仔细审视我们是谁，我们来自哪里，同时也促使我们想象我们可能是谁。爵士乐和蓝调，无论是在美国文化中的社会政治历史方面，还是因为它们在她的家庭历史和个人生活中的作用，都为Spry的方法提供了启发性的隐喻。虽然Spry与爵士乐和蓝调的社会文化和个人关系与autoethnographic研究立场的情境性相似，但爵士乐及其文化挪用，种族融合和社会转型的复杂历史谈到了可能通过她的方法接近的各种问题的复杂性和可能性。爵士乐进一步成为一个隐喻的组成感觉的文本，建立和扩大她以前的工作，通过不同的写作模式，
Representation. Privilege. Self. Other. Difference. Blues. Relationality. Possibility. Transformation. Jazz. For critical performance (auto) ethnographers, the politics of “I” and the ethics of representation have been a central disciplinary consideration for at least the last four decades, and, as Spry argues in Autoethnography and the Other, these ongoing conversations remain an unresolved aspect of theory and practice. Propelled by a desire to locate,“a labor of reflexivity in performative autoethnography that represents the Other with the same kind of commitment as is afforded the self”(14–15), Spry’s text introduces a three-part methodology that calls for reconceptualizing Other and self in autoethnographic work and provides a foundation for rethinking the aim and possibility of autoethnographic praxis itself. Autoethnography and the Other is a call for performance autoethnographers to move beyond the performative “I,” carefully, toward a consideration of “We,” not through a process that erases difference or history, but through a utopian performative method that requires us to look closely at who we are and where we came from while also prompting us to imagine who we might be. Jazz and blues, both in terms of their sociopolitical histories in US culture and because of their role in her family history and personal life, provide a heuristic metaphor for Spry’s approach. While Spry’s sociocultural and personal relationship to jazz and blues parallels the situatedness of the autoethnographic research position, jazz and its complicated history of cultural appropriation, racial integration, and social transformation speaks to the complexities and possibilities of the kinds of issues that might be approached through her methodology. Jazz further becomes a metaphor for the compositional feel of the text, which builds and expands on her previous work, moves us through different modalities of writing from