Narrative inquiry and auto-ethnography: Interpretive approaches to research

Hermeneutic phenomenology informed two qualitative methodologies used in my doctoral research: narrative case studies and auto-ethnography. Through these methodologies I investigated the phenomenon of place and identity in visual artistic practice. Four narrative case studies of four artists were developed using experience-focused narrative inquiry and thematic analysis. Auto-ethnography was used to investigate the phenomenon of place and identity within my own practice as visual artist. This involved analysis of my artworks that encompassed place and identity and writing from different contexts of my past. Rather than relying on memory recall. This became textural writing in the phenomenon rather than describing what I already knew. This enabled me to challenge conventional ways of telling my story (big stories) and produced “small stories” from which new insights could be interpreted. The insights gained from my auto-ethnography in turn assisted me to encourage story telling to find the small stories of my artist participants.

'I wouldn't say that' : finding a young adult, female voice in a Queensland mining town

This is a practice-led project consisting of a Young Adult novel, Open Cut, and an exegesis, 'I Wouldn't Say That': Finding a Young Adult, Female Voice in a Queensland Mining Town. The thesis investigates the use of first person narration in order to create an immediate engaging, realist Young Adult Fiction. The research design is bound by a feminist interpretative paradigm. The methodology employed is practice-led, auto-ethnography, and participant observation. Particular characteristics of first person narration used in Australian Young Adult Fiction are identified in an analysis of Dust, by Christine Bongers, and Jasper Jones, by Craig Silvey. The exegesis also contains a reflection on the researcher's creative work, and the process used to draft, edit, plot and construct the novel. The research contributes to knowledge in the field of Young Adult Literature because it offers a graphic portrayal of an Australian mining town that has not been heard before.

Romantic terrorism: An autoethnography of domestic violence, victimization and survival

Romantic Terrorism offers an innovative methodology in exploring the ways in which domestic violence offenders terrorise their victims. Hayes and Jeffries employ a collaborative auto-ethnographic approach to analyse their own lived experiences of domestic violence, particularly how romantic love is employed and distorted by abusers. Its focus on the insidious use of tactics of coercive control by abusers opens up much-needed discussion on the damage caused by emotional and psychological abuse, which are often overlooked or downplayed in both the literature and the criminal justice system. To this end, it offers strategic advice for policy-makers, practitioners, and criminal justice professionals involved in domestic violence service provision.

Home is where the stuff is: Framing life-worlds in domestic space

This PhD playfully employs visual arts as a means through which to explore concepts of gender, normative behaviour, play, humour, collecting and an intimate and idiosyncratic relationship with domestic space. This PhD seeks to: represent certain complexities of individual experience through theoretical frameworks of Gaston Bachelard, Michel de Certeau, Pierre Bourdieu and selected visual artists; use my art to elucidate the humour that exists in the mundane; and illustrate the construction of particular life-worlds using auto-ethnography and visual documentation. This is represented in a 50,000 word exegesis (50%) and a practice comprising of eight artist books (50%).

Romantic terrorism? Survivor narratives of psychological and emotional tactics of domestic violence

This paper draws on the theoretical arguments outlined in Hayes (2014) to frame critical analyses of two real life domestic violence narratives. The authors are both academic criminologists and victims/survivors of domestic violence, but within differing contexts – one a conventional heterosexual relationship, the other a female same-sex relationship. Their experiences are intertwined in an extensive collaborative auto-ethnographic analysis that spans seven years of working and socialising together, in which each provided a sounding board and support for the other. The analysis therefore documents two personal journeys. The academic and theoretical are intertwined with the personal and subjective to elicit an evocative and yet empirically validated study. The theoretical underpinnings of romantic love distortion, misogyny and sexism are used to frame these experiences of domestic violence and the differing sexualities of the authors provide a rich context for exploring the ways in which domestic violence victimisation experiences are impacted by gender, sexuality, and heteronormative discourses of love, sex and relationships.

Looking out of the void : Scaffolds to assist drama higher research degree students on the path to artist–scholar

In recent years, a number of Australian and international universities have offered the ability to complete postgraduate qualifications using the research frame known as creative practice as research. This has been particularly prevalent in the Drama discipline in the Creative Industries Faculty at Queensland University of Technology (QUT). There has been a noticeable shift away from students undertaking a traditional research Master of Arts (Research) or Doctor of Philosophy to a higher proportion of research higher degree students undertaking research through their creative work. The somewhat ephemeral nature of the theatre and performance practice can generate anxieties for students about how to best represent, analyse and discuss the creative practice within a theoretical frame. The argument in this paper is situated in the experience of two artist-scholars who undertook their studies at QUT while under principal supervision of the author and explores the research scaffolds that supervisors in Drama at QUT have developed to assist research higher degree students to navigate the tricky persona of artist–scholar.

FOLLOWING THE TRAIL OF THE SNAKE: A LIFE HISTORY OF COBRA MANSA "COBRINHA" MESTRE OF CAPOEIRA

This dissertation is a cultural biography of Mestre Cobra Mansa, a mestre of the Afro-Brazilian martial art of capoeira angola. The intention of this work is to track Mestre Cobrinha's life history and accomplishments from his beginning as an impoverished child in Rio to becoming a mestre of the tradition-its movements, music, history, ritual and philosophy. A highly skilled performer and researcher, he has become a cultural ambassador of the tradition in Brazil and abroad. Following the Trail of the Snake is an interdisciplinary work that integrates the research methods of ethnomusicology (oral history, interview, participant observation, musical and performance analysis and transcription) with a revised life history methodology to uncover the multiple cultures that inform the life of a mestre of capoeira. A reflexive auto-ethnography of the author opens a dialog between the experiences and developmental steps of both research partners' lives. Written in the intersection of ethnomusicology, studies of capoeira, social studies and music education, the academic dissertation format is performed as a roda of capoeira aiming to be respectful of the original context of performance. The result is a provocative ethnographic narrative that includes visual texts from the performative aspects of the tradition (music and movement), aural transcriptions of Mestre Cobra Mansa's storytelling and a myriad of writing techniques to accompany the reader in a multi-dimensional journey of multicultural understanding. The study follows Cinezio Feliciano Pe anha in his childhood struggle for survival as a street performer in Rio de Janeiro. Several key moves provided him with the opportunity to rebuild his life and to grow into a recognized mestre of the capoeira angola martial art as Mestre Cobra Mansa ("Tame Snake" in Portuguese). His dedicated work enabled him to contribute to the revival of the capoeira angola tradition during the 1980's in Bahia. After his move to the United States in the early 1990's, Mestre Cobrinha founded the International Capoeira Angola Foundation, which today has expanded to 28 groups around the world. Mestre Cobra returned home to Brazil to initiate projects that seek to develop a new sense of community from all that he has learned and been able to accomplish in his life through the performance and study of capoeira angola.

Tullis Rennie's Muscle Memory: Listening to the Act of Listening

This paper explores a recent, broadly 'electroacoustic', fixed medium composition by Tullis Rennie, which uses his background in ethnographic fieldwork to explore (in this case through auto-ethnography) modes of listening, and the role of technologies in mediating this listening. Muscle Memory: A conversation about jazz, with Graham South (trumpet) (2014) begins to answer questions about how one work can comment on and analyse or critique another through its own agency as music, bringing composition and ethnography together in fruitful collision, and illuminating the human capacity to manipulate and be manipulated by musical activity. The paper uses the piece to test the extent to which four functions, identified by Simon Frith (1987. Towards an aesthetic of popular music. In R. Leppert & S. McClary (Eds.), Music and society (pp. 133-49). Cambridge: Cambridge University Press) as crucial to the meaningfulness of popular music may, in the context of ubiquitously technologised music, have broader application than he originally intended.

A Foucaultian analysis of power relations in child protection case work with youth and families

This thesis takes some steps in examining the child protection system from a position that is rarely discussed. Specifically, I explore how Foucault's concept of disciplinary power can be used to demonstrate how power operates within the client/worker relationship. This relationship is shown to be quite complex with power flowing bidirectionally, rather than hierarchically. Instead of viewing power imbalances as a function of state control, I show how the client/worker relationship is constituted by the worker, the client, the organization and the social body. A postmodern auto ethnography is used to document my journey as I expose the disciplinary practices and instruments that I was subject to and used with my clients. 2 Given that the child protection system is constantly shifting and changing in order to improve its ability to safeguard children a greater emphasis is required to examine how workers operate within this complex, overwhelming and multi-dimensional world. This thesis has shown that by engaging in a reflexive examination of my position of power different approaches to making intervention beneficial to all involved become available. This is important if child protection work aims to work with clients rather than on clients.

A demonstration of educational craft : an outdoor educator's autoethnography

Ellis (2004) argues that auto ethnography is a methodology that begins with the researcher as the site of study. Employing a qualitative storytelling structure shows, instead of tells. As the audience reads, they are encouraged to relate the research to their experiences, provoking reflective knowledge development. As an outdoor educator, I began to question the nature of my craft and how it was being shaped by my personal educational philosophy. So, drawing on a reflective journal I kept while employed as an outdoor educator in 2007, three outdoor educators published narratives, and a historical review of newspaper articles about Ontario-based outdoor education, conducted an autoethnographic inquiry and built a fictional story about my craft. I exposed five faultlines or areas of ideological tension, shaping my views about outdoor education and my craft.

I must walk through the gate : an ontological necessity

This research is a self-study into my life as an athlete, elementary school teacher, leamer, and as a teacher educator/academic. Throughout the inquiry, I explore how my beliefs and values infused my lived experiences and ultimately influenced my constructivist, humanist, and ultimately my holistic teaching and learning practice which at times disrupted the status quo. I have written a collection of narratives (data generation) which embodied my identity as an unintelligent student/leamer, a teacher/learner, an experiential learner, a tenacious participant, and a change agent to name a few. As I unpack my stories and hermeneutically reconstruct their intent, I question their meaning as I explore how I can improve my teaching and learning practice and potentially effect positive change when instructing beginning teacher candidates at a Faculty of Education. At the outset I situate my story and provide the necessary political, social, and cultural background information to ground my research. I follow this with an in depth look at the elements that interconnect the theoretical framework of this self-study by presenting the notion of writing at the boundaries through auto ethnography (Ellis, 2000; Ellis & Bochner, 2004) and writing as a method of inquiry (Richardson, 2000). The emergent themes of experiential learning, identity, and embodied knowing surfaced during the data generation phase. I use the Probyn' s (1990) .. metaphor of locatedness to unpack these themes and ponder the question, Where is experience located? I deepen the exploration by layering Drake's (2007) KnowlDo/Be framework alongside locatedness and offer descriptions of learning moments grounded in pedagogical theories. In the final phase, I introduce thirdspace theory (Bhabha, 1994; Soja, 1996) as a space that allowed me to puzzle educational dilemmas and begin to reconcile the binaries that existed in my life both personally, and professionally. I end where I began by revisiting the questions that drove this study. In addition, Ireflect upon the writing process and the challenges that I encountered while immersed in this approach and contemplate the relevance of conducting a self-study. I leave the reader with what is waiting for me on the other side of the gate, for as Henry James suggested, "Experience is never limited, and it is never complete."

WEB6203 Interdisciplinary Thinking: Readings 4

Why Blog? read this compelling auto ethnography All references can be found in our mendeley collection https://www.mendeley.com/groups/4904781/webs6203/

'Skeleton budget', 'intranet', 'dole', and other strange Words: Bridging the cultural divide in a multicultural classroom

This paper examines the experiences of two academics who had been international students themselves and currently teaching in multicultural settings at tertiary level, with regards to the issues of the teacher using culture specific slang and idiom with otherwise keen and bright groups of students, in Australia. Using the research method of auto-ethnography, it examines and categorises the themes of issues most often faced by the staff members and students-such as the use of different vocabulary and keywords and the prior knowledge required of both the teacher and the students in reaching a shared understanding or inter-subjectivity. These will be discussed in terms of the various realities experienced by the students coming from a diversity of countries and cultures. The paper discusses how these challenges can be identified and addressed and how to prepare for future situations more effectively and in advance. They will be examined within the contexts of culturally responsive teaching, communication competence, the hidden curriculum, instructional scaffolding, understanding and being open to other cultures and acknowledgement of the richness and relevance of the multicultural students’ varied experiences and social realities, from the point of view of the academic discipline of communication studies.

The passion plays of celebrity culture

If there is a cultural arena today where passion plays a central and heightened role, then it is in the affecting and textural operations of celebrity. Celebrity representations are crafted out of passionate aesthetic signifiers and impassioned pleas to the senses, to the emotions and to the exaggerations of feeling that the consumer or fan is asked to register and then fully embody. Celebrity culture attempts to turn one into a passionate creature, ruled by the heart, lost in a sea of desires and desiring wants and needs, as the adoring figure that moves us, moves intimately before us. Such passions can and do go unrequited, of course; some are resisted and rejected, and some celebrity passions register as fully carnal and liberating encounters. That is to say, the plays of celebrity passion serve (hetero) normative and policed accounts of feeling and belonging in the world, fuel a desire for commodity objects and material possessions, and yet also open up the possibility for engagements that are violent, liberal and unregulated. In this article, I will explore the ways in which celebrity culture engages with passion and through the idea of it involving a modern form of the passion play. Following Lauren Berlant, I will argue that the passion ignited by the celebrity works to contain and regulate desire, and yet also offers up the opportunity for sensorial engagements that violate and resist the normative terms of desiring. I will suggest celebrity figures are themselves caught up in this passion play, suffering and feeling deeply at the same time, while channelling this violent crisis to their fans as they do so. Finally, I will write the article passionately, from an impassioned perspective, measuring and weighting my own desires in the contradictions and tensions of passion as they emerge in the body of the writer before you. This article is part of a themed issue entitled ‘Passion’.