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| Preface | |
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| Interpretive Criteria in the Seventh Moment | |
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| Interpretive Criteria in the Seventh Moment | |
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| The Performance Turn | |
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| Experiences and Performances | |
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| Performing Montana | |
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| Conclusions | |
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| The Interpretive Point of View | |
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| Performing Racial Memories | |
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| Personal Biography | |
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| The Interpretive Heritage | |
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| Opening Up the World for Interpretation | |
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| What Is Interpretive Interactionism? | |
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| Interpretation and Science | |
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| History, Power, Emotion, and Knowledge | |
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| The Criteria of Interpretation | |
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| The Agenda | |
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| Conclusions | |
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| Securing Biographical Experience | |
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| Exemplars | |
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| Overview | |
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| Narrative's Moment | |
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| Selves, Narratives and Sacred Places | |
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| Interpreting and Biographical | |
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| Conclusions | |
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| The Interpretive Process The Steps to Interpretation | |
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| Framing the Research Question | |
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| Deconstruction | |
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| Capture | |
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| Bracketing | |
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| Construction | |
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| Contextualizing | |
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| Evaluating Interpretive Materials | |
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| Conclusions | |
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| Situating Interpretation | |
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| Time, History, and Mapping | |
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| Learning the Language and Its Meanings | |
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| Researcher as Newcomer and Knowing Subject | |
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| Conclusions | |
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| Thick Description | |
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| A Double Crisis | |
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| Thick Description as Performative Writing | |
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| Examples of Thick Description-as-Inscription | |
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| Thin Description-as-Inscription | |
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| Good and Bad Thick Description | |
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| Conclusions | |
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| Doing Interpretation | |
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| Exemplars of Interpretation | |
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| What Interpretation Does | |
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| Types of Interpretation and Exemplars | |
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| Performing and Representing Interpretation | |
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| Understanding | |
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| Conclusions | |
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| Conclusion: On Interpretive Interactionism | |
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| Interpretation | |
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| Biographical Experience | |
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| Reading and Writing Experience | |
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| Fiction and Interpretation | |
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| Interpretive Interactionism in the Postmodern Period | |
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| Glossary of Terms | |
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| References | |
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| Index | |