Ayshia Stephenson
Biographic Data
| ID | 4522450 |
|---|---|
| NAME | Ayshia Stephenson |
| GIVEN NAMES | Ayshia |
| FAMILY NAME | Stephenson |
| SIGNATURE | STEPHENSON A |
| AFFILIATIONS | Xavier University of Louisiana |
| VERIFIED | No |
| TOTAL WORKS | 2 |
| TOTAL CITATIONS | 2 |
| WORKS AS AUTHOR | 2 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2018 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 1 |
“Inter and Enter
This performative and collaborative autoethnography plays with the homophonic or maybe homiletics of “inter” and “enter” as the invitational aspect of collaborative autoethnography. The contribution of diverse collaborators from differing racial, ethnic, geo-spatial locations, and generational standpoints speak to/between experiences with the dialogic aspects of autoethnography; the speaking of self with and for others that is always a part of au…
A Co-Performance of Radical Change
Sara Baartman ("Venus Hottentot") was a curvaceous South African teenager lured to Europe to perform for audiences in 1810-her genitals and brain posthumously dissected, pickled, and museumized. As researcher and playwright, reflexivity on my power is not enough. I use co-performance as theory and method to unravel my story with Baartman's to share power and problematize how Western culture shames women for their sexuality. I call upon Anzaldúa a…
A Co-Performance of Radical Change
Sara Baartman ("Venus Hottentot") was a curvaceous South African teenager lured to Europe to perform for audiences in 1810-her genitals and brain posthumously dissected, pickled, and museumized. As researcher and playwright, reflexivity on my power is not enough. I use co-performance as theory and method to unravel my story with Baartman's to share power and problematize how Western culture shames women for their sexuality. I call upon Anzaldúa a…
A Co-Performance of Radical Change
Sara Baartman ("Venus Hottentot") was a curvaceous South African teenager lured to Europe to perform for audiences in 1810-her genitals and brain posthumously dissected, pickled, and museumized. As researcher and playwright, reflexivity on my power is not enough. I use co-performance as theory and method to unravel my story with Baartman's to share power and problematize how Western culture shames women for their sexuality. I call upon Anzaldúa a…
“Inter and Enter
This performative and collaborative autoethnography plays with the homophonic or maybe homiletics of “inter” and “enter” as the invitational aspect of collaborative autoethnography. The contribution of diverse collaborators from differing racial, ethnic, geo-spatial locations, and generational standpoints speak to/between experiences with the dialogic aspects of autoethnography; the speaking of self with and for others that is always a part of au…
Art (2 works) · Gender Studies (2 works) · Sociology (2 works) · Theatre and Performance Studies (2 works) · Aesthetics (1 work) · Ambiguity (1 work) · Anthropology (1 work) · Archaeology (1 work) · Arts and Performance Studies (1 work) · Astrobiology (1 work)