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The article introduces the concept of the “intertwangle,” a concept grounded within the gentle collisions of delegates at the 13th International Congress for Qualitative Inquiry at the University of Illinois and the simultaneous retelling of multiple autoethnographies of such encounters. Through such encounters and “retellings,” perhaps a different way of thinking about autoethnography is developed. The article presents a story of a journey to and through the 13th Congress. A journey of no answers and no certainty—this journey is not a collaborative sharing of data but more of the gentle collisions and the recounting of different stories located within shared experiences. It is a simple journey bounded by way-markers of uncertainty, at times self-deprecation, loss, and death. It is a journey of new beginnings, of no ends—of uncertainty rather than certainty, revealing rather than obscuring and expanding rather than reducing.

How to have an empirical social science based on data, when the practices that produce data are under assault. The skeptics will not be silenced. Criticism comes from all sides (Koro-Ljungberg, 2016). The argument is straightforward: things, words, “become data only when theory acknowledges them as data” (St. Pierre, 2011, p. 621). In a single gesture, doubt replaces certainty, no theory, method, form of data analysis, discourse, genre or tradition has “ a universal and general claim as the ‘right’ or privileged form of authoritative knowledge (Richardson, 2000, p. 928). More is at play .

Critical qualitative scholarship offers humble grounds and many unforeseen possibilities to seek and promote justice, critical global engagement, and diverse epistemologies. This dialogical and interactive paper is based on a panel session at the International Congress of Qualitative Inquiry that highlighted diverse areas of critical qualitative inquiry, namely justice, difference, ethics, and equity. Authors in this paper share their critical qualitative research practices and provide examples of how justice can be addressed through research foci, methods, theories, and ethical practices.

This three-act historical ethnodrama rereads the discourse surrounding Custer's Last Stand, arguably the most written-about military event in American history. It compares and contrasts First Nation oral history accounts, official military records, and select painterly representations of the “Battle of Little Bighorn.” It asks if there was a real “last stand” or only a flawed grand narrative (see Denzin 2011).

This short one-act play addresses the criticisms of postmodern ethnography by Hammersely and others. It suggests that much of the criticism reflects misinterpretations of the new work. Critics are challenged to become more open-minded in their evaluations of alternative ways of doing critical qualitative inquiry.

Este trabajo se refiere a un vínculo particular entre la universidad y la sociedad: el vínculo del complejo metodología/problemas sociales/ políticas públicas con la posibilidad de cambio con justicia social, en donde el resultado de los debates académico-metodológicos en relación con la investigación cualitativa y cuantitativa, tiene consecuencias en la formulación de políticas y en la distribución de los recursos locales, nacionales y planetarios. Se propone que es necesario el diálogo y colaboración entre paradigmas y comunidades académicas y que no hacerlo conducirá a explicaciones, políticas y prácticas acerca de problemas de la sociedad, cada vez más autoritarias.

Presented to the Society for the Study of Symbolic Interaction in Montreal, Canada, on August 7, 2006, this performance text is a critique of the Bush administration and its reliance on science, or evidence-based models of inquiry (SBR). SBR raises issues concerning the politics of truth and evidence. These issues intersect with the ways in which a given political regime fixes facts to fit ideology. Three versions of SBR are discussed. A model of science as disruptive cultural practice is outlined. I locate the interactionist project in the discourses surrounding the global war on terror and the war in Iraq. I conclude by calling for a merger of critical pedagogy with a prophetic, feminist postpragmatism. With C. Wright Mills (1959) I believe scholars have an obligation to write their way into their historical moments. The failure to do so makes us complicit with the histories that too often go on behind our backs.

Drawing on Walter Benjamin's concept of history as literary montage, “Memory: Lewis and Clark in Yellowstone, circa 2004” interrogates the place of memory in the bicentennial celebrations of the Lewis and Clark expedition of 1804–06. Quoting from historical documents, I attempt to crack the racist facade that surrounds Lewis and Clark and the place of their project in our national imagination.

Reading forward from the recently released secret Downing Street Memos, to the 2001 No Child Left Behind Act, in this performance text I critique the Bush Administration and its reliance on science, or evidence-based models of inquiry (SBR). SBR raises issues concerning the politics of truth and evidence. These issues intersect with the ways in which a given political regime fixes facts to fit ideology. Three versions of SBR are discussed, as is a model of science as disruptive cultural practice. I conclude by calling for a merger of critical pedagogy with a prophetic, feminist post-pragmatism.

Written on the eve of the 2004 American presidential election, this political narrative offers a critical reading of two models of democracy: Instant-Mix imperial democracy (bring to a boil, add oil, then bomb), criticized by Arundhati Roy, and Garrison Keillor’s Homegrown Democrat. Keillor’s pastoral view of democracy is anchored in LakeWobegon, his imaginary utopian community. His homegrown democracy is narrow, provincial, and White. The author concludes that he must look elsewhere for his alternative view of democracy.

This experimental, layered, mixed-genre narrative folds my biographical experiences into a critical reading of Wallace Stegner's autobiographical account of his childhood. This reading allows me to discuss three versions of the midcentury white male middle-class American dream. I compare Stegner's father to my father and my grandfather, as I discuss a trip I almost made to Yellowstone Park with my grandfather before he died.

“The claim that all the world’s a stage is sufficiently commonplace for readers to be familiar with its limitations and tolerant of its presentation.” (Goffman 1959, 72, 254) “Given that the logic of privatization....now odiously shapes archetypes of citizenship, [and] manages our perceptions of what constitute the ‘good society’....it stands to reason that new ethnographic research approaches must take global capitalism not as an end point of analysis, but as a starting point.” (Kincheloe and McLaren 2000, 304) “My abhorrence of neoliberalism helps to explain my legitimate anger when I speak of the injustices to which the ragpickers among humanity are condemned. It also explains my total lack of interest in any pretension of impartiality, I am not impartial, or objective...[this] does not prevent me from holding always a rigorously ethical position.” (Freire 1998, 22)

This experimental, layered, mixed-genre narrative folds my biographical experiences into a critical reading of a cultural performance involving cowboys and Indians in a small Montana town in summer 2000. Informed by critical race theory and poststructuralism, this narrative attempts to deconstruct racial stereotypes associated with Native Americans and their presence in America's movies and popular culture.

Quais são as questões chave que enfrenta o chamado por um novo inquérito crítico? Como criar uma nova família de termos para uma nova investigação crítica, pois termos escorregam e deslizam, caem uns sobre os outros: crítica incorporada, transformativa, dialógica, reflexiva, participatória, emancipatória, narrativas de resistência, plateaus, planos de composição, Deleuze, Guattari, assemblages, afeto, investigação nômade, rizomática, amor, perda, práxis da escrita como uma forma de ser no mundo. Escrever de forma enquadrada em torno de atos de ativismo e resistência. Como nos movemos para frente?

My intentions in this essay are fivefold: (1) to show how the discourses of qualitative inquiry and cultural studies in the seventh moment can be put to critical advantage by consumer researchers; (2) to discuss the cultural studies assumptions that define a consumer research agenda; (3) to offer a set of interpretive, methodological, and ethical criteria that can be used by consumer researchers; (4) to apply these criteria to a concrete case, a reading of the Hollywood “hood” films of the last decade; and thereby (5) to establish the relevance of this approach for the practices of critical consumer research. Throughout I use examples from the Black Arts Movement of the 1970s.

© 2001 by the Society for the Study of Symbolic Interaction. All rights reserved. Send requests for permission to reprint to: Rights and Permissions, University of California Press, Journals Division, 2000 Center St., Ste. 303, Berkeley, CA 94704-1223. Direct all correspondence to Norman K. Denzin, Institute of Communications Research, University of Illinois, 239 Gregory Hall, 810 South Wright St., Urbana, IL 61801; e-mail: n-denzin@uiuc.edu. THEORETICAL NOTE

This is an experimental, mixed-genre narrative, combining autoethnography with other evocative writing forms, including narratives of the self. Using the techniques of fiction, I tell a story about myself and my experiences with nature, the sacred, and a small Montana river named Rock Creek. Kittridge asks for narratives that embed the self in storied histories of sacred spaces. These stories chart the outlines of an epistemology that stresses the sacredness of human life and its relationship to nature. Accordingly, this performance-based project attempts to enact a sacred epistemology and a form of writing that honors our relationship to nature and the natural world.

It is a painful story, this tale of the conflicted, strained, at times deceitful relationship between Hans Gerth and C. Wright Mills. The story begins in 1940, with Mills's entry into the doctoral program in sociology at Wisconsin, and effectively ends with Mills's death in 1962. However, the central focus is on the thirteen-year collaboration between the two men (1940-53), a collaboration that produced two classic sociological works, From Max We ber (1946) and Character and Social Structure (1953). The narrative moves at several levels. The telling is seamless, unfolding in six closely reasoned chapters and an epilogue. The Introduction and Epilogue present a Weberian model of academic careers, reputations, col laborative relationships, and the ethics of academic life. Following Weber, Oakes and Vidich understand that the institution of science operates as a "selection mechanism, placing certain persons in career paths and eliminat ing others" (p. 145). The path to a successful career in science "is traced by the fine line between overweening ambition that inspires doubt about honesty and a diffidence . . . that disqualifies its possessor from participa tion in the contest for priority" (p. 154). As Weber did not, Oakes and Vidich ask if there are "circumstances under which success as a scientist depends on violating the ethics of science" (p. 145). Chapters one through three detail the material and ethical practices that produced the famous 1946 and 1953 books. Chapter four analyzes Mills as a young careerist, while chapter six examines the academic tribulations of Hans Gerth. The text is a model of historical scholarship. Oakes and Vidich state, "Our purpose is not to take sides, settle scores, or reach conclusions con cerning who was right and who was not" (p. 11). The authors effortlessly move back and forth between the primary documents in the Gerth and

Written 6 months after the 2004 American presidential election, this political narrative asks if democracy can survive under the Bush regime.

L'A. etudie les evolutions qui ont affecte la sociologie en cette periode de fin de siecle. Il examine de facon critique les analyses de S. Seidman, en cette affaire, et plus particulierement sa vision de l'objectivite de la connaissance elaboree par les sciences sociales. Il presente les conceptions des post-modernistes en ce domaine. Il examine le modele ethique feministe et communautaire de la connaissance. Il souligne que celui-ci met en lumiere la dimension politique de la recherche sociologique. Il s'efforce de comprendre la nature de la culture de l'ecrit

An examination of thefemine gaze, as given in two recent mainstream Hollywood films (Black Widow, Fatal Attraction), is presented. How this gaze and its I understandings complement a feminist-based cultural studies project is discussed.

First there was James, then Peirce and Mead, and in between and before (and after) there was Dewey, then Blumer, and now Strauss. Giants all, pioneers, founding fathers of American pragmatism and that unique American sociology called symbolic interactionism. They all come together in this brilliant, but awkwardly titled summa, a work which will must cedainly confer the greatest of distinctions upon its author. In the 12 chapters of Continual Permutations of Action, Anselm Strauss weaves and stitches together a life-time project, one that is continuous with Dewey’s Human Nature and Conduct, Mead’s Mind, Self and Society, and Blumer’s Symbolic Interaction, with important asides to Hughes’s Men and Their Work, Goffman’s Presentation of Self in Everyday Life, and Becker’s Art Worlds. David Maines’s marvelous forewgrd positions this book within contemporary sociology. This foreward suggests (to me) the need to consult what I regard as the important companion volume to Continual P ermutations of Action, namely, the essays in Maines (1 991) where many of Anselm’s colleagues and former students with whom he has worked closely pay homage to his legacy. Continual Permutations of Action is living history, the work that many would desire to write. Urged for years by friends, colleagues, editors, and former students to write his theory of action, in this book Strauss picks up where Mirrors and Masks ended. He offers here a systematic picture of the conceptual framework (negotiated order, trajectory, awareness context, articulation, social world processes) that has organized, for the last three decades, his well-known grounded theory projects (dying, pain management, types of medical work, chronic illness, urban imagery, social mobility, psychiatric ideologies).

A critical reading of the Oriental sleuth in Hollywood films, focusing on the Charlie Chan series, is offered. The Chan series is contrasted to the 1981 Wayne Wang film, Chan Is Missing. These texts are fitted into a cultural studies perspective which criticizes the voyeuristic, investigative project of the traditional Asian eye.

This article offers a critical reading of C. Wright Mills's The Sociological Imagination (1959). Such a reading reveals the need to reassess the basis, practice, purpose, and impact of sociology. Accordingly, interpretive materials drawn from stories about and by alcoholics and a new cultural grouping, Adult Children of Alcoholics, are used to illustrate the foundations of a minimalist sociology. Know that the … sociological imagination has its chance to make a difference in the quality of life in our time. (Mills 1959, p. 226)