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This volume provides an extensive overview of current research on
the complex relationships between gender and communication.
Featuring a broad variety of chapters written by leading and
upcoming scholars, this edited collection uses diverse theoretical
frameworks to provide insight into recent concerns regarding
changing gender roles, representations, and resources in
communication studies. Established research and new perspectives
address vital themes in this comprehensive text, including the
shifting politics of gender, ethical and technological trends in
gendered media, and gender in daily life. Comprising 39 chapters by
a team of international contributors, the Handbook is divided into
six thematic sections: * Gendered lives and identities *
Visualizing gender * The politics of gender * Gendered contexts and
strategies * Gendered violence and communication * Gender advocacy
in action These sections examine central issues, debates, and
problems, including the ethics and politics of gender as identity,
impacts of media and technology, legal and legislative
battlegrounds for gender inequality and LGBTQ+ human rights,
changing institutional contexts, and recent research on gender
violence and communication. The final section links academic
research on gender and communication to activism and advocacy
beyond the academy. The Routledge Handbook of Gender and
Communication will be an invaluable reference work for students and
researchers working at the intersections of gender studies and
communication studies. Its international perspectives and the range
of themes it covers make it an essential and pragmatic pedagogical
resource.
This is a remarkable set of linked essays on the African American
male experience. Alexander picks a number of settings that
highlight Black male interaction, sexuality, and identity_the
student-teacher interaction, the black barbershop, drag queen
performances, the funeral eulogy. From these he builds a theory of
Black masculine identity using auto-ethnography and ideas of
performance as his base.
This is a remarkable set of linked essays on the African American
male experience. Alexander picks a number of settings that
highlight Black male interaction, sexuality, and identity_the
student-teacher interaction, the black barbershop, drag queen
performances, the funeral eulogy. From these he builds a theory of
Black masculine identity using auto-ethnography and ideas of
performance as his base.
Performance Theories in Education: Power, Pedagogy, and the
Politics of Identity breaks new ground by presenting a range of
approaches to understanding the role, function, impact, and
presence of performance in education. It is a definitive
contribution to a beginning dialogue on how performance, as a
theoretical and pragmatic lens, can be used to view the processes,
procedures, and politics of education. The conceptual framework of
the volume is the editors' argument that performance and
performativity help to locate and describe repetitive actions
plotted within grids of power relationships and social norms that
comprise the context of education and schooling. The book brings
together performance studies and education researchers, teachers,
and scholars to investigate such topics as: *the relationship
between performance and performativity in pedagogical practice;
*the nature and impact of performing identities in varying
contexts; *cultural and community configurations that fall under
the umbrella of teaching, education, and schooling; and *the hot
button issues of educational policies and reform as performances.
With the aim of developing a clearer understanding of the effect,
affect, and role of performance in education, the volume provides a
crucial starting point for discourse among theorists and teacher
practitioners who are interested in understanding and acknowledging
the politics of performance and the practices of performative
social identities that always and already intervene in the
educational endeavor.
Performative Intergenerational Dialogues of a Black Quartet
promotes the importance of intergenerational Black dialogue as a
collaborative spirit-making across race, genders, sexualities, and
cultures to bridge time and space. The authors enter this dialogue
in a crisis moment: a crisis moment at the confluence of a
pandemic, the national political transition of leadership in the
United States, the necessary rise of Black, Indigenous, and People
of Color activism-in the face of the continued murders of unarmed
Black and queer people by police. And as each author mourns the
loss of loved ones who have left us through illness, the contiguity
of time, or murder, we all hold tight to each other and to memory
as an act of keeping them alive in our hearts and actions,
remembrance as an act of resistance so that the circle will be
unbroken. But they also come together in the spirit of hope, the
hope that bleeds the borders between generations of Black
teacher-artist-scholars, the hope that we find in each other's joy
and laughter, and the hope that comes when we hear both stories of
struggle and strife and stories of celebration and smile that lead
to possibilities and potentialities of our collective being and
becoming-as a people. So, the authors offer stories of witness,
resistance, and gettin' ovah, stories that serve as a road map from
Black history and heritage to a Black futurity that is mythic and
imagined but that can also be actualized and embodied, now. This
book will be of interest to scholars, students, and activists in a
wide range of disciplines across the social sciences and
performance studies.
Performative Intergenerational Dialogues of a Black Quartet
promotes the importance of intergenerational Black dialogue as a
collaborative spirit-making across race, genders, sexualities, and
cultures to bridge time and space. The authors enter this dialogue
in a crisis moment: a crisis moment at the confluence of a
pandemic, the national political transition of leadership in the
United States, the necessary rise of Black, Indigenous, and People
of Color activism-in the face of the continued murders of unarmed
Black and queer people by police. And as each author mourns the
loss of loved ones who have left us through illness, the contiguity
of time, or murder, we all hold tight to each other and to memory
as an act of keeping them alive in our hearts and actions,
remembrance as an act of resistance so that the circle will be
unbroken. But they also come together in the spirit of hope, the
hope that bleeds the borders between generations of Black
teacher-artist-scholars, the hope that we find in each other's joy
and laughter, and the hope that comes when we hear both stories of
struggle and strife and stories of celebration and smile that lead
to possibilities and potentialities of our collective being and
becoming-as a people. So, the authors offer stories of witness,
resistance, and gettin' ovah, stories that serve as a road map from
Black history and heritage to a Black futurity that is mythic and
imagined but that can also be actualized and embodied, now. This
book will be of interest to scholars, students, and activists in a
wide range of disciplines across the social sciences and
performance studies.
Collaborative Spirit-Writing and Performance in Everyday Black
Lives is about the interconnectedness between collaboration,
spirit, and writing. It is also about a dialogic engagement that
draws upon shared lived experiences, hopes, and fears of two Black
persons: male/female, straight/gay. This book is structured around
a series of textual performances, poems, plays, dialogues, calls
and responses, and mediations that serve as claim, ground, warrant,
qualifier, rebuttal, and backing in an argument about collaborative
spirit-writing for social justice. Each entry provides evidence of
encounters of possibility, collated between the authors, for
ourselves, for readers, and society from a standpoint of individual
and collective struggle. The entries in this Black performance
diary are at times independent and interdependent, interspliced and
interrogative, interanimating and interstitial. They build
arguments about collaboration but always emanate from a place of
discontent in a caste system, designed through slavery and
maintained until today, that positions Black people in relation to
white superiority, terror, and perpetual struggle. With particular
emphasis on the confluence of Race, Racism, Antiracism, Black Lives
Matter, the Trump administration, and the Coronavirus pandemic,
this book will appeal to students and scholars in Race studies,
performance studies, and those who practice qualitative methods as
a new way of seeking Black social justice.
Collaborative Spirit-Writing and Performance in Everyday Black
Lives is about the interconnectedness between collaboration,
spirit, and writing. It is also about a dialogic engagement that
draws upon shared lived experiences, hopes, and fears of two Black
persons: male/female, straight/gay. This book is structured around
a series of textual performances, poems, plays, dialogues, calls
and responses, and mediations that serve as claim, ground, warrant,
qualifier, rebuttal, and backing in an argument about collaborative
spirit-writing for social justice. Each entry provides evidence of
encounters of possibility, collated between the authors, for
ourselves, for readers, and society from a standpoint of individual
and collective struggle. The entries in this Black performance
diary are at times independent and interdependent, interspliced and
interrogative, interanimating and interstitial. They build
arguments about collaboration but always emanate from a place of
discontent in a caste system, designed through slavery and
maintained until today, that positions Black people in relation to
white superiority, terror, and perpetual struggle. With particular
emphasis on the confluence of Race, Racism, Antiracism, Black Lives
Matter, the Trump administration, and the Coronavirus pandemic,
this book will appeal to students and scholars in Race studies,
performance studies, and those who practice qualitative methods as
a new way of seeking Black social justice.
This volume provides an extensive overview of current research on
the complex relationships between gender and communication.
Featuring a broad variety of chapters written by leading and
upcoming scholars, this edited collection uses diverse theoretical
frameworks to provide insight into recent concerns regarding
changing gender roles, representations, and resources in
communication studies. Established research and new perspectives
address vital themes in this comprehensive text, including the
shifting politics of gender, ethical and technological trends in
gendered media, and gender in daily life. Comprising 39 chapters by
a team of international contributors, the Handbook is divided into
six thematic sections: * Gendered lives and identities *
Visualizing gender * The politics of gender * Gendered contexts and
strategies * Gendered violence and communication * Gender advocacy
in action These sections examine central issues, debates, and
problems, including the ethics and politics of gender as identity,
impacts of media and technology, legal and legislative
battlegrounds for gender inequality and LGBTQ+ human rights,
changing institutional contexts, and recent research on gender
violence and communication. The final section links academic
research on gender and communication to activism and advocacy
beyond the academy. The Routledge Handbook of Gender and
Communication will be an invaluable reference work for students and
researchers working at the intersections of gender studies and
communication studies. Its international perspectives and the range
of themes it covers make it an essential and pragmatic pedagogical
resource.
Performance Theories in Education: Power, Pedagogy, and the
Politics of Identity breaks new ground by presenting a range of
approaches to understanding the role, function, impact, and
presence of performance in education. It is a definitive
contribution to a beginning dialogue on how performance, as a
theoretical and pragmatic lens, can be used to view the processes,
procedures, and politics of education. The conceptual framework of
the volume is the editors' argument that performance and
performativity help to locate and describe repetitive actions
plotted within grids of power relationships and social norms that
comprise the context of education and schooling. The book brings
together performance studies and education researchers, teachers,
and scholars to investigate such topics as: *the relationship
between performance and performativity in pedagogical practice;
*the nature and impact of performing identities in varying
contexts; *cultural and community configurations that fall under
the umbrella of teaching, education, and schooling; and *the hot
button issues of educational policies and reform as performances.
With the aim of developing a clearer understanding of the effect,
affect, and role of performance in education, the volume provides a
crucial starting point for discourse among theorists and teacher
practitioners who are interested in understanding and acknowledging
the politics of performance and the practices of performative
social identities that always and already intervene in the
educational endeavor.
Following the premise that race and the process of racialization is
performative, this book is a critical examination of the
performative sustainability of race, particularly blackness,
through commentaries on White Studies, art depictions of African
American culture in the rural south, educational and pedagogical
contexts, dramatic and film representation, and the intersections
of race and gender performance. The book examines issues impacting
the sustainability of race and race relations through multiple
methodological and critical perspectives - most notably framed
through performance (performance studies) and autoethnography.
This is the first book to dedicate scholarly attention to the work
of Tarell Alvin McCraney, one of the most significant writers and
theater-makers of the twenty-first century. Featuring essays,
interviews, and commentaries by scholars and artists who span
generations, geographies, and areas of interest, the volume
examines McCraney's theatrical imagination, his singular writerly
voice, his incisive cultural critiques, his stylistic and formal
creativity, and his distinct personal and professional
trajectories. Contributors consider McCraney's innovations as a
playwright, adapter, director, performer, teacher, and
collaborator, bringing fresh and diverse perspectives to their
observations and analyses. In so doing, they expand and enrich the
conversations on his much-celebrated and deeply resonant body of
work, which includes the plays Choir Boy, Head of Passes, Ms. Blakk
for President, The Breach, Wig Out!, and the critically acclaimed
trilogy The Brother/Sister Plays: In the Red and Brown Water, The
Brothers Size, and Marcus; Or the Secret of Sweet, as well as the
Oscar Award-winning film Moonlight, which was based on his play In
Moonlight Black Boys Look Blue.
This is the first book to dedicate scholarly attention to the work
of Tarell Alvin McCraney, one of the most significant writers and
theater-makers of the twenty-first century. Featuring essays,
interviews, and commentaries by scholars and artists who span
generations, geographies, and areas of interest, the volume
examines McCraney's theatrical imagination, his singular writerly
voice, his incisive cultural critiques, his stylistic and formal
creativity, and his distinct personal and professional
trajectories. Contributors consider McCraney's innovations as a
playwright, adapter, director, performer, teacher, and
collaborator, bringing fresh and diverse perspectives to their
observations and analyses. In so doing, they expand and enrich the
conversations on his much-celebrated and deeply resonant body of
work, which includes the plays Choir Boy, Head of Passes, Ms. Blakk
for President, The Breach, Wig Out!, and the critically acclaimed
trilogy The Brother/Sister Plays: In the Red and Brown Water, The
Brothers Size, and Marcus; Or the Secret of Sweet, as well as the
Oscar Award-winning film Moonlight, which was based on his play In
Moonlight Black Boys Look Blue.
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