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Abstract

Unnaming the axiomatic constructs of a named identity—that which is thought to be fitting within a given regime of definition—becomes then an act of secular blasphemy, a performance of decanonizing translation that discursively relocates and reinscribes communicated meaning from power, prefix, and prefigurement to perpetual movement. Departing from Homi Bhabha's description of blasphemy as a transgressive act, this article blasphemes the certainty of definition in research writing, illuminating the performance of blasphemy as a source of new social names and the migration of norms and meaning. This article is the third in a trilogy of research forays exploring the intersection of autoethnography, critical race theory, and performance studies. This new research, written to follow up Rolling (2004a, 2004b), is a continuation of the author's effort to establish the efficacy of a poststructural and poetic aesthetic in qualitative research writing.

Keywords

autoethnography critical race theory performance studies arts-based educational research poetics

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References

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Secular Blasphemy

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