Skin flint (or, the garbage man's kid)
A generative autobiographical performance based on Tami Spry's tattoo stories
Bibliographic Data
| ID | 12370014 |
|---|---|
| Authors | B K Alexander (0000-0001-7382-6696, California State University Los Angeles, corresponding author) |
| Year | 2000 |
| Volume | 20 |
| Issue | 1 |
| Pages | 97-114 |
| Publication date | 2000-01-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Text and Performance Quarterly (JOURNAL) |
| Journal identifiers | ISSN: 1046-2937 • E-ISSN: 1479-5760 |
| Publisher | Taylor & Francis (PUBLISHER • GB) |
| DOI | 10.1080/10462930009366286 |
| OpenAlex | W2171778924 |
| Language | EN |
| Citations received | 37 |
| References cited | 18 |
This essay capitalizes on the hope that autobiographical performance's aesthetic of incarnation may become an aesthetic ofreincamation. Explicating the construction of “generative autobiographical performance,” the essay continues the retheorizing of the personal narrator in autobiographical performance as something other than a heroic autonomous subject. It documents the essentially interdependent and collaborative effort evidenced between two autobiographical performances. In the process, the essay also continues to explore autobiographical performance as a form of cultural critique
Aesthetics · Art · Autobiographical memory · Cognitive psychology · Generative grammar · Incarnation · Interdependence · Linguistics · Recall · Social science · Sociology · Subject (documents · Computer Science · Diversity and Impact of Dance · Philosophy · Psychology · Shakespeare, Adaptation, and Literary Criticism · Theatre and Performance Studies
“Inter and Enter
“The Generativity of Autoethnographic Inquiry
“I Thought I Knew You, Two”
“Responding to the Panel ‘Risky Business, Uncertain Futures . . . and (How) the Work Continues’ in Qualitative Inquiry”
The Power of Metaphor
(Performance Is) Metaphors as Methodological Tools in Qualitative Inquiry
Answering the Call
Haunted by Ghosts
Treading Across Lines in the Sand
Act like you got some home training
Passing, Again
My History of History
Diversity Thugs
Listen, performance
Miles Away from “The Cool”
Writing and Performing Mirror Image
Gay Grows Up
The Critical-Norm
The Use of Presentational Aesthetics in Heidi Rose's Mirror Image
Disaster Narrative Emergent/cies
Get it While you Can
[Black Boys ^ Jena (1 Tree + 2 Nooses) – Civil Liberties] / 1 Indivisible Nation = an Auto-ethnographic Performance of the Jena Six
Between Solids/Monologues in Brown
The Good, the Better, and the Beautiful
A Jazz Aesthetic Reprise (on the Work of Tami Spry)
The First Disciple
From Poetry to Politics
The Cost of a Presumed Public Good
Standing in the Wake
Things I've Wanted to Share for a While
The Crisis of Collage
Telling Multiracial Tales
Resisting (Resistance) Stories
On Being Amorphous
Storm Tracking
Performing Autoethnography
From Silence to Siren to Silence
Speech Genres and Other Late Essays
Autobiographical performance and carnivorous knowledge
A mirror of her own
Refreshment
Tattoo stories
Appreciation and desire
Performing marginality
Skins
Intertextuality and Contemporary American Fiction
Like Ann's Gynecologist or the Time I Was Almost Raped
Art as Experience (1934)
Personal narrative, performance, performativity
Performance, Culture, and Identity
Personal Narratives Reconsidered
The Anthropology of Performance
Feminist Theory
| Unique citing works | 37 |
|---|---|
| Citations per year | 1,48 |
| Citation span | 2001 - 2026 (26) |
| Citation velocity | current |
| Highly cited | No |
| Citation types | Neutral: 37 |