Critical ethnography: method, ethics, and performance/ D. Soyini Madison.

Chapter One: Critical Ethnography: Theory and Method
Positionality and Shades of Ethnography
Dialogue and the Other
Note: Brief Historical Overview of Critical Ethnography
The Method and Theory Nexus
Summary
Warm-Ups
Suggested Readings
Chapter Two: Methods
Who Am I? Starting Where You Are
Who Else Has Written About My Topic? Being Part of an Interpretive Community
The Power of Purpose: Bracketing Your Subject
Preparing for the Field: The Research Design and Lay Summary
The Research Design
The Lay Summary
Interviewing and Field Techniques
Formulating Questions
Patton Model
Spradly Model
Extra Tips for Formulating Questions
Attributes of the Interviewer [AU: ?and Building Rapport? is the rest of this H1 in the main text: add to TOC, or delete those 3 words from the H1?]
Mindful Rapport
Anticipation
?Positive? Naiveness
Active Thinking and Sympathetic Listening
Status Difference
Patiently Probing
Gordon Model
Coding and Logging Data
Note About Computers
Warm-Ups
Suggested Readings
Chapter Three: Three Stories: Case Studies in Critical Ethnography
Case One: Local Activism in West Africa
Key Concepts in Postcolonial and Marxist Criticism
Key Concepts in Postcolonialism
Note: Brief Historical Context
Key Concepts in Marxist Thought
Case Two: Secrets of Sexuality and Personal Narrative
Key Concepts in Phenomenology
Key Concepts in Subjectivity, Symbolism, and Sexuality
Case Three: Community Theatre: Conflicts and Organization
Key Concepts in Theories of Difference: Race and Gender
Warm-Ups
Suggested Readings
Chapter Four: Ethics
Defining Ethics
Where Did the Notion of Ethics Begin?
What Constitutes an Ethical or Moral Act?
What Is the Relationship Between Religion and Ethics?
Do We Need Religion or a Belief in The Divine for Ethical Behavior? Is It the Nature of Human Beings to Be Good?
Where Is Evil Positioned in the Idea of Ethics?
Critical Ethnography and the Ethics of Reason, the Greater Good, and the Other
Reason
The Greater Good
The Other
Note: Postmodernism
Maria Lugones: Contemporary Ethics, Ethnography, and Loving Perception
World Traveling and Loving Perception
Summary
Warm-Ups
Suggested Readings
Chapter Five: Methods and Ethics
Codes of Ethics for Fieldwork
Code of Ethics of the American Anthropological Association
Note: Hate Groups, Advocacy, and Responsibility
Note: Institutional Review Board
Extending the Codes
Moral Dilemmas
Conceptual Errors
Dialogical Performance
Warm-Ups
Suggested Readings
Chapter Six: Methods and Application: Three Case Studies in Ethical Dilemmas
Case One: Local Activism in West Africa
Advocacy, Representation, and Voice
Method and Advocacy
Case Two: Secrets of Sexuality and Personal Narrative
Trust, Confidentiality, and Informed Consent
Method and Confidentiality
Case Three: Community Theatre: Conflicts and Organization
Fairness, Critical Judgment, and Policy Implications
Method and Criticism
Warm-Ups
Suggested Readings
Chapter Seven: Performance Ethnography
Foundational Concepts in Performance and Social Theory
Performance as Experience
Performance as Social Behavior
Performance as Language and Identity
Note: Derrida and Deconstruction
Performativity
The Performance Interventions of Dwight Conquergood
Process and Performance
The Body and Scriptocentrism
Dialogic Performance
Cultural Politics
Staging Ethnography and the Performance of Possibilities
The Subjects
The Audience
The Performers
Warm-Ups
Suggested Readings
Chapter Eight: It?s Time to WRITE: Writing as Performance
Getting Started: In Search of the Muse
Research Questions and Statement of Purpose
The Muse Map and the Road Map
Schedules and Time Management
First Draft and Free Writing
The Anxiety of Writing: Wild Mind and Monkey Mind
Continents, Islands, and the Editor
Writing as Performance and Performance as Writing
Performative Writing as Relational
Performative Writing as Evocative
Performative Writing as Embodied
Performative Writing as Consequential
Warm-Ups
Suggested Readings
Chapter Nine: The Case Studies
Case One: Staging Cultural Performance
Case Two: Oral History and Performance
Case Three: The Fieldwork of Social Drama and Communitas
Warm-Ups