Reflections of professional practice: using electronic discourse analysis networks (EDANs) to examine embedded business emails

Emails have become a central genre in business communication, reflecting both how people communicate and how they go about their professional practices. This chapter examines embedded business emails as reflections of the professional practices of the regulatory and policy department of a multinational based in London, UK. It argues that the nature of online communication in international organisations, with its high levels of intertextuality and interdiscursivity, requires multidimensional analytical approaches that are capable of capturing its complexity and dynamics. To this end, the chapter introduces electronic discourse analysis networks (EDANs) as one example of such approaches. It begins with a brief review of the literature that has informed the study reported on here before it discusses EDANs as its analytical framework. Using a group of embedded emails and a number of networked data sets, the chapter shows how EDANs can be used to further our understanding of professional online communication.

Reflections on conducting research on the ‘war on terror’: religious identity, subjectivity and emotions

In recent years there has been an increase in literature which has explored the insider/outsider position through ethnic identities. However, there remains a neglect of religious identities, even though it could be argued that religious identities have become increasingly important through being prominent in international issues such as the ‘war on terror’ and the Middle East conflict. Through drawing on the concept of subjectivity, I reflect on research I conducted on the impact of the ‘war on terror’ on British Muslims. I explore the space between the insider/outsider position demonstrating how my various subjectivities – the ‘non-Islamic appearance I’, the ‘Muslim I’, the ‘personal I’, the ‘exploring I’, the ‘Kashmiri I’ or the ‘Pakistani I’, the ‘status I’ and the ‘outsider I’ – assisted in establishing trust, openness and commonality. I conclude by demonstrating how the ‘emotional I’ allowed me to manage my own emotions and participants emotions.

Reflections Upon the Experience of Longitudinal Research into Cultural Event Production in a Developing Destination

Longitudinal studies have the capacity to provide more nuanced explanations of tourism and event phenomena, taking account of complexity, change and context. This paper is a self-reflexive, methodological study of research practice. It investigates my experience of engaging with cultural event producers in an emerging destination over a seven-year period. Focussing on my research journey, it considers the social and relational dynamics associated with longitudinal research. Reciprocal relations and co-production of cultural events reveal nuanced information and expose fluid relationships and networks. Long-term engagement uncovers evolving practices and develops understanding of event processes embedded within their wider context.

Transformative realism: reflections of reality in political avant-garde and contemporary fine art film - Spanish Labyrinth, south from Granada

A turn towards documentary modes of practice amongst contemporary fine art video and filmmakers towards the end of the 20th Century, led to moving image works that represent current social realities. This drew some comparisons of these forms of art to journalism and industrial documentary. The practical research is embodied in a single screen film that responds to recent political and ecological realities in Spain. These include the mass demonstrations that led to the occupation of Madrid’s Plaza del Sol and Spain’s in 2011 and largest recorded forest fires that spread through Andalusia in August of the following year. The film, titled Spanish Labyrinth, South from Granada, is a response to these events and also relates to political avant-garde film of the 1930’s by re-tracing a journey undertaken by three revolutionary filmmakers, Yves Allegret, René Naville and Eli Lotar, in 1931. The theoretical research for this project establishes an historical root of artists’ film that responds to current social realities, in contrast to news media, in the Soviet and European avant-garde movements of the 1920s and 1930s. The main aim of this method is to argue the status of the works that I identify, both avant-garde and contemporary, as a form of art that preceded a Griersonian definition of documentary film.