Part I. Beginnings. Introducing the Authors and the Riff Methodology ; Riff I. Robert Porter ; Cultural Studies and the Politics of Everyday Life ; Why Sociology of Knowledge? ; Why George Herbert Mead? ; Why Symbolic Interactionism? ; Riff II. Robert Porter ; Authenticity as Authenticating ; The Move to Grounded Theory -- Part II. Authenticating New Orleans Jazz ; Riff III. Robert Porter ; Analytic Autoethnography ; Becoming Authentic (1961-1976) ; Revisiting Authenticity (2000-2009) ; Enthusiasts, Competing Authenticities, and the Move to Academe ; New Orleans Music, Authenticity, and the Case of Bob Wallis ; Towards Authenticity as Authenticating : Mainstreaming Authenticity and the Case of Bunk Johnson ; Authenticity as Authenticating 1 -- Constructing and Reconstructing Authenticity ; Authenticity as Authenticating 2 -- Adopting and Adapting Authenticity ; Progressing Authenticity ; Coda on a Riff : Fragment from Robert Porter.
Summary:
"This book is part jazz historiography, part autoethnography and part memoir. It sets forth a grounded theory of 'authenticating' as a basic socio-political process, with reference to Richard Ekins' participation in the social worlds of New Orleans jazz, and his life as a social constructionist social scientist and cultural theorist"-- Provided by publisher.
This resource is supported by the Institute of Museum and Library Services under the provisions of the Library Services and Technology Act as administered by State Library of Iowa.