Charismatic performance: A study of Bacon’s rebellion

Countering Trump: Toward a Theory of Charismatic Counter-Roles

“…1976; Oakes 1997;Schiffer 1973), a substantial literature has arisen that bears out the notion that interactionism offers explanatory power with respect to charisma's production, reception, and routinization (Blasi 1991;Couch 1989;DuPertius 1986;Finlay 2002;Joosse 2017aJoosse , 2017bReed 2013;Smith 2013;Wallis 1982;Wasielewski 1985).…”

“…Within this tradition there have been two approaches that can be seen as distinct yet complementary. The first stresses the dramaturgical aspects of charismatic performance, working from the notion that the charismatic individual "is not only a person but a personage, a public character in a public drama" (Blasi 1991, 4-5; see also Dawson 2006, 19-20;Gardner and Avolio 1998;Joosse 2012;Reed 2013). While Weber tended to focus reductively on the leader's provision of oftentimes miraculous "proofs" to followers ([1922] 1978, 242-44, 266, 441), this more recent scholarship has drawn on theoretical insights from the performative turn in cultural sociology in a way that gives flesh to Weber's rather skeletal account of charismatic affect (Goffman 1959;Searle 1969;Butler 1990; for a full discussion see Reed [2013, 261-67]).…”

Authority as epistemic capital

“…7 Following Weber, it has been common in previous research and theorization to make a distinction between personal charisma and office charisma. As to the former, it is stressed that the attribution of charisma to a person requires exceptional times of crises, which is when followers may submit themselves to a desperately needed leader, believed to be endowed with supernatural or at least specifically exceptional powers or qualities (Weber 1978, p. 241, Szelenyi 2016, Reed 2013. According to Smith (2000), charisma is created by utilizing salvation narratives, the internal structure of which requires binary oppositions contrasting good and evil.…”

A tomada do palco: performances sociais de Mao Tsé-Tung a Martin Luther King, e a Black Lives Matter hoje

“…Émile Durkheim, sobretudo em sua fase tardia, é uma referência basilar para a teoria da performance Smith, 2005), que incorpora também elementos da virada estética de Clifford Geertz (Alexander et al, 2011), e da teoria do drama de Victor Turner (Edles, 1998; Howe 2015), bem como dos estudos contemporâneos da performance, iniciados por Richard Schechner (2002). Além de conceitualizar este modelo macrossociológico da performance social, a "pragmática cultural" tem sido empregada para explorar uma grande variedade de situações empíricas, desde campanhas presidenciais (Alexander, 2010;Mast, 2012; Alexander; Jaworsky, 2014) e a Primavera Árabe (Alexander, 2011a), ao terrorismo e a Rebelião de Bacon (Reed, 2013) e a Guerra do Iraque (Alexander, 2011b); do processo de Verdade e Reconciliação da África do Sul (Goodman, 2016), às demandas de povos nativos por justiça social (Woods, 2016). No ensaio que se segue, espero demonstrar como a teoria da performance social pode esclarecer a arte do protesto durante a revolução comunista da China, o movimento americano por direitos civis de meados do século 20, e os protestos atuais, majoritariamente afro-americanos, contra a violência policial nas cidades americanas.…”