1997
DOI: 10.1111/j.1741-5446.1997.00163.x
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Strategies of Representation: Autobiographical Metissage and Critical Pragmatism

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Cited by 13 publications
(3 citation statements)
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“…Standardized systems for sharing scientific knowledge and codifying scientific practice, derived from white middle-class norms, promote understandings that devalue indigenous scientific knowledge [65]. According to Zuss [78], student awareness of differences manifests in conscious decisions to either apply dominant cultural norms or reject them for alternative options. Therefore, studying science disengagement acknowledges marginalized students' awareness of their exclusion from the creation of scientific knowledge and practice.…”
Section: Science Engagement and Crspmentioning
confidence: 99%
“…Standardized systems for sharing scientific knowledge and codifying scientific practice, derived from white middle-class norms, promote understandings that devalue indigenous scientific knowledge [65]. According to Zuss [78], student awareness of differences manifests in conscious decisions to either apply dominant cultural norms or reject them for alternative options. Therefore, studying science disengagement acknowledges marginalized students' awareness of their exclusion from the creation of scientific knowledge and practice.…”
Section: Science Engagement and Crspmentioning
confidence: 99%
“…Métissage (Lionnet, 1989;Hasbe-Ludt, Chambers, & Leggo, 2009;Zuss, 1997) -'a concept... a practice' (Lionnet, 1989, p. 6) and a 'praxis' (p. 8) -is useful for understanding the significance of Hannah Baker's 13 messages. Métissage, a kind of autobiographical production, encompasses many characteristics that resonate in Hannah's generative project;…”
Section: Métissage As Strategymentioning
confidence: 99%
“…Despite the tragic trauma(s) in Hannah's narrative, this paper argues that even though Hannah dies by suicide, Hannah nevertheless authors herself as a kind of resistant feminist 'willful child' (Ahmed, 2014) at the end of her life. She does so by employing the cassette tapes as tools for braiding a subversive métissage (Lionnet, 1989;Hasbe-Ludt, Chambers, & Leggo, 2009;Zuss, 1997) of 13 testimonial messages that function to combat both hostile and benevolent sexism (Glicke & Fiske, 1996) by challenging the male gaze (Mulvey, 1975) and exercising her own optic agency to bear witness to sexual violence. Her messages map a 'coming to voice ' (hooks, 1994), enacting a kind of 'feminism as screaming in order to be heard' (Ahmed, 2017, p. 73).…”
Section: Introduction: Hannah's Willmentioning
confidence: 99%