This book is part jazz historiography, part autoethnography and part memoir. It sets forth a grounded theory of 'authenticating' as a basic socio-political process, with reference to Richard Ekins' participation in the social worlds of New Orleans jazz, and his life as a social constructionist social scientist and cultural theorist.
This book is part jazz historiography, part autoethnography and part memoir. It sets forth a grounded theory of 'authenticating' as a basic socio-political process, with reference to Richard Ekins' participation in the social worlds of New Orleans jazz, and his life as a social constructionist social scientist and cultural theorist.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Richard Ekins is Emeritus Professor of Sociology and Cultural Studies, Ulster University, UK. Robert Porter is Research Director in Communication, Media and Cultural Studies at Ulster University, UK.
Inhaltsangabe
Part I: Beginnings Chapter 1. Introducing the Authors and the Riff Methodology Riff I. Robert Porter Chapter 2. Cultural Studies and the Politics of Everyday Life Chapter 3. Why Sociology of Knowledge? Chapter 4. Why George Herbert Mead? Chapter 5. Why Symbolic Interactionism? Riff II. Robert Porter Chapter 6. Authenticity as Authenticating Chapter 7. The Move to Grounded Theory Part II Authenticating New Orleans Jazz Riff III. Robert Porter Chapter 8. Analytic Autoethnography Chapter 9. Becoming Authentic (1961-1976) Chapter 10. Revisiting Authenticity (2000-2009) Chapter 11. Enthusiasts, Competing Authenticities, and the Move to Academe Chapter 12. New Orleans Music, Authenticity, and the Case of Bob Wallis Chapter 13. Towards Authenticity as Authenticating: Mainstreaming Authenticity and the Case of Bunk Johnson Chapter 14. Authenticity as Authenticating 1 - Constructing and Reconstructing Authenticity Chapter 15. Authenticity as Authenticating 2 - Adopting and Adapting Authenticity Chapter 16. Progressing Authenticity Coda on a Riff Fragment from Robert Porter
Part I: Beginnings Chapter 1. Introducing the Authors and the Riff Methodology Riff I. Robert Porter Chapter 2. Cultural Studies and the Politics of Everyday Life Chapter 3. Why Sociology of Knowledge? Chapter 4. Why George Herbert Mead? Chapter 5. Why Symbolic Interactionism? Riff II. Robert Porter Chapter 6. Authenticity as Authenticating Chapter 7. The Move to Grounded Theory Part II Authenticating New Orleans Jazz Riff III. Robert Porter Chapter 8. Analytic Autoethnography Chapter 9. Becoming Authentic (1961-1976) Chapter 10. Revisiting Authenticity (2000-2009) Chapter 11. Enthusiasts, Competing Authenticities, and the Move to Academe Chapter 12. New Orleans Music, Authenticity, and the Case of Bob Wallis Chapter 13. Towards Authenticity as Authenticating: Mainstreaming Authenticity and the Case of Bunk Johnson Chapter 14. Authenticity as Authenticating 1 - Constructing and Reconstructing Authenticity Chapter 15. Authenticity as Authenticating 2 - Adopting and Adapting Authenticity Chapter 16. Progressing Authenticity Coda on a Riff Fragment from Robert Porter
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