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Performative Listening

Hearing Others in Qualitative Research

Chris McRae

Performative Listening: Hearing Others in Qualitative Research offers an alternative theory of listening – as a performative act, or as a relational stance and performance in which listeners ethically engage in an act of learning from others across difference. This theory emerges from an interdisciplinary approach to performance studies, communication, musicology, and critical pedagogy in order to present a nuanced theory of listening as performance that is always linked to questions of context, individual experiences, and cultural expectations. Working from examples of the music and autobiography of Miles Davis, this book offers a clear and practical guide for applying performative listening in the contexts of qualitative, narrative, and arts-based approaches to research and inquiry. By emphasizing the embodied, relational, and creative functions of the highly contextual and cultural performance of listening, Performative Listening presents a theory and method that can be used to rethink the ways scholars and students engage with others in a wide variety of qualitative research and educational contexts.
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References

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Adorno, T. W. (2002). On the fetish-character in music and the regression of listening (S. H. Gillespie, Trans.). In R. Leppert (Ed.), Essays on music (pp. 288–317). Berkeley, CA: University of California Press.

Alexander, B. K. (2000). Skin Flint (or, The Garbage Man’s Kid): A generative autobiographical performance based on Tami Spry’s Tatoo Stories. Text and Performance Quarterly, 20, 97–114.

Alexander, B. K. (2005). Critically analyzing pedagogical interactions as performance. In B. K. Alexander, G. L. Anderson, & B. P. Gallegos (Eds.), Performance theories ← 143 | 144 → in education: Power, pedagogy, and the politics of identity (pp. 41–62). Mahwah, NJ: Lawrence Erlbaum Associates.

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