Norman K. Denzin, Performance Ethnography: Critical Pedagogy and the Politics of Culture, London and New York: Routledge, second edition, 2018. 【Norman K. Denzin, Performance Ethnography: Critical Pedagogy and the Politics of Culture, Thousand Oaks: Sage Publications, 2003.】

This book is a manifesto. It is about rethinking performance autoethnography, about the formation of a critical performative cultural politics, about what happens when everything is already performative, when the dividing line between performativity and performance disappears. This is a book about the writing called autoethnography. It is also about what this form of writing means for writers who want to perform work that leads to social justice. Denzin’s goal is to take the reader through the history, major terms, forms, criticisms and issues confronting performance autoethnography and critical interpretive. To that end many of the chapters are written as performance texts, as ethnodramas.

A single thesis organizes this book: the performance turn has been taken in the human disciplines and it must be taken seriously. Multiple informative performance models are discussed: Goffman’s dramaturgy; Turner’s performance anthropology; performance ethnographies by A. D. Smith, Conquergood, and Madison; Saldana’s ethnodramas; Schechter’s social theatre; Norris’s playacting; Boal’s theatre of the oppressed; and Freire’s pedagogies of the oppressed. They represent different ways of staging and hence performing ethnography, resistance and critical pedagogy. They represent different ways of "imagining, and inventing and hence performing alternative imaginaries, alternative counter-performances to war, violence, and the globalized corporate empire" (Schechner 2015).

This book provides a systematic treatment of the origins, goals, concepts, genres, methods, aesthetics, ethics and truth conditions of critical performance autoethnography. Denzin uses the performance text as a vehicle for taking up the hard questions about reading, writing, performing and doing critical work that makes a difference.

本书乃一部宣言。它关乎重新思考表演性自我民族志，关乎批判性表演文化政治学的形成，关乎当一切皆已表演化、当表演性与表演之间的分界线消失时所发生的现象。这是一部关于被称为自我民族志之写作的著作。它同样关乎这种写作形式对于那些希望从事能够促进社会正义之工作的写作者所具有的意义。登津的目标是引导读者梳理表演性自我民族志与批判阐释学所面临的历史、主要术语、形式、批评以及议题。为此，书中诸多章节皆以表演文本的形式写就，即民族戏剧的形式。

一个核心论题统领全书：表演转向已在人文学科中发生，且必须被严肃对待。书中讨论了多种富有启发性的表演模式：戈夫曼的戏剧理论；特纳的表演人类学；由A·D·史密斯、康奎尔古德以及麦迪逊所创作的表演民族志；萨尔达纳的民族戏剧；谢克纳的社会剧场；诺里斯的表演行为；博阿尔的被压迫者剧场；以及弗莱雷的被压迫者教育学。这些代表了搭建并进而表演民族志、反抗以及批判教育学的不同方式。它们代表了"想象、发明并进而表演替代性想象、替代性反表演以对抗战争、暴力以及全球化企业帝国"的不同方式（谢克纳，2015）。

本书对批判性表演自我民族志的起源、目标、概念、体裁、方法、美学、伦理学以及真理条件提供了系统性的论述。登津运用表演文本作为载体，以探讨关于阅读、写作、表演以及从事能够产生影响的批判性工作的艰难问题。