A tale of two analyses: the use of archived qualitative data

This article provides a unique contribution to the debates about archived qualitative data by drawing on two uses of the same data - British Migrants in Spain: the Extent and Nature of Social Integration, 2003-2005 - by Jones (2009) and Oliver and O'Reilly (2010), both of which utilise Bourdieu's concepts analytically and produce broadly similar findings. We argue that whilst the insights and experiences of those researchers directly involved in data collection are important resources for developing contextual knowledge used in data analysis, other kinds of critical distance can also facilitate credible data use. We therefore challenge the assumption that the idiosyncratic relationship between context, reflexivity and interpretation limits the future use of data. Moreover, regardless of the complex genealogy of the data itself, given the number of contingencies shaping the qualitative research process and thus the potential for partial or inaccurate interpretation, contextual familiarity need not be privileged over other aspects of qualitative praxis such as sustained theoretical insight, sociological imagination and methodological rigour. © Sociological Research Online, 1996-2012.

"I'm a better manager":A biographic narrative study of the impact of personal trauma on the professional lives of managers in the UK

This doctoral study aims to understand how experiences of critical illness or bereavement affect the way managers view and approach their work and their relationships at work. This is an interpretative phenomenological study examining the subjective meanings of personal experience and is underpinned by biographic narratives from four participants and interviews with their nominated workplace witnesses (i.e. colleagues who worked alongside the individual at the time of their trauma). As a consequence of the findings that have emerged across this study, three contributions to theory are presented. All four participants described their traumas as a professional growth experience for themselves as managers, which resulted in self-reported and observed behaviour change at work. Consequently, the first area of theoretical contribution is a suggested extension to the post-traumatic growth (PTG) framework (Calhoun & Tedeschi, 2006) with the addition of a new behavioural dimension called ‘managerial growth’, when applied to the context of ‘ordinary’ organizations. The second area of theoretical contribution arose through the reflexive process that was created during data collection where participants and their witnesses remembered episodes of compassion interaction at work. The second area of contribution thus seeks to extend the existing model of compassion at work (Dutton, Worline, Frost and Lilius, 2006), by conceptualising compassion as a dyadic process between a compassion ‘giver’ and a compassion ‘receiver’ in which the compassion receiver ‘trusts or ‘mistrusts’; ‘discloses’ or ‘withholds’; ‘connects’ or ‘disconnects’ with the compassion giver. The third area of contribution is a new conceptualisation of reflexivity, ‘three-dimensional reflexivity’ (3DR) (Armstrong, Butler and Shaw, 2013). 3DR brings together three of the elements that have been missing from critically reflexive management research; by working with multiple variants of reflexivity in the same study; surfacing different reflexive voices to guard against the researcher’s (potentially) solipsistic own; and remaining sensitive to the concept of reflexive time. In doing so, 3DR not only provides a deeper understanding of individual lived experience; it is also a vehicle in which self-insight is gained. Furthermore, by engaging in its practice, those involved in this study have developed both personally and professionally as a result.

24-Karat or fool’s gold? Consequences of real team and co-acting group membership in healthcare organizations

Although theory on team membership is emerging, limited empirical attention has been paid to the effects of different types of team membership on outcomes. We propose that an important but overlooked distinction is that between membership of real teams and membership of co-acting groups, with the former being characterized by members who report that their teams have shared objectives, and structural interdependence and engage in team reflexivity. We hypothesize that real team membership will be associated with more positive individual- and organizational-level outcomes. These predictions were tested in the English National Health Service, using data from 62,733 respondents from 147 acute hospitals. The results revealed that individuals reporting the characteristics of real team membership, in comparison with those reporting the characteristics of co-acting group membership, witnessed fewer errors and incidents, experienced fewer work related injuries and illness, were less likely to be victims of violence and harassment, and were less likely to intend to leave their current employment. At the organizational level, hospitals with higher proportions of staff reporting the characteristics of real team membership had lower levels of patient mortality and sickness absence. The results suggest the need to clearly delineate real team membership in order to advance scientific understanding of the processes and outcomes of organizational teamwork.

From art for arts sake to art as means of knowing:a rationale for advancing arts-based methods in research, practice and pedagogy

This paper advances a philosophically informed rationale for the broader, reflexive and practical application of arts-based methods to benefit research, practice and pedagogy. It addresses the complexity and diversity of learning and knowing, foregrounding a cohabitative position and recognition of a plurality of research approaches, tailored and responsive to context. Appreciation of art and aesthetic experience is situated in the everyday, underpinned by multi-layered exemplars of pragmatic visual-arts narrative inquiry undertaken in the third, creative and communications sectors. Discussion considers semi-guided use of arts-based methods as a conduit for topic engagement, reflection and intersubjective agreement; alongside observation and interpretation of organically employed approaches used by participants within daily norms. Techniques span handcrafted (drawing), digital (photography), hybrid (cartooning), performance dimensions (improvised installations) and music (metaphor and structure). The process of creation, the artefact/outcome produced and experiences of consummation are all significant, with specific reflexivity impacts. Exploring methodology and epistemology, both the "doing" and its interpretation are explicated to inform method selection, replication, utility, evaluation and development of cross-media skills literacy. Approaches are found engaging, accessible and empowering, with nuanced capabilities to alter relationships with phenomena, experiences and people. By building a discursive space that reduces barriers; emancipation, interaction, polyphony, letting-go and the progressive unfolding of thoughts are supported, benefiting ways of knowing, narrative (re)construction, sensory perception and capacities to act. This can also present underexplored researcher risks in respect to emotion work, self-disclosure, identity and agenda. The paper therefore elucidates complex, intricate relationships between form and content, the represented and the representation or performance, researcher and participant, and the self and other. This benefits understanding of phenomena including personal experience, sensitive issues, empowerment, identity, transition and liminality. Observations are relevant to qualitative and mixed methods researchers and a multidisciplinary audience, with explicit identification of challenges, opportunities and implications.

Kritikai menedzsmentelméletek – irányzatok és törésvonalak (Critical Management Studies: Streams and Debates)

A tanulmány a kritikai menedzsmentelméletek (KME) területére nyújt bevezetést a Hidegh – Gelei – Primecz (2014) által a Vezetéstudomány hasábjain kezdeményezett cikksorozat részeként. A KME fogalmát a korábbi, szervezetelméleti paradigmákat ismertető tanulmányoktól eltérő módon, a mátrixokon át-/ túllépve lépcsőszerűen tárgyalja. Bemutatja, hogyan definiálhatjuk kritikai módon a menedzsmentet és a menedzsmentelméleteket, majd a KME meghatározása és három legfontosabb jellemzője (denaturalizáció, teljesítményelv-ellenesség, reflexivitás) következik. A cikk ismerteti a KME három legmarkánsabb irányzatát: a posztmodernizmust, a kritikai elméletet és a kritikai realizmust, valamint az irányzatok közötti főbb vitapontokba nyújt betekintést. ____ The article provides an introduction into Critical Management Studies (CMS) continuing the series of papers about CMS started by Hidegh – Gelei – Primecz (2014) on the pages of Budapest Management Review. CMS is defined here in a different way as in the previously published Hungarian articles which were based on the Burrell-Morgan matrix (1979). This study exceeds the boundaries of the matrix by introducing management and management studies as a critical field step by step. The definition of CMS is followed by the main features of the field: denaturalization, anti-performativity and reflexivity (Fournier – Grey, 2000). Finally, the paper discusses the three most prevailing streams of CMS: postmodernism, critical theory and critical realism by providing an insight into the main debates among them.

Vulnerable identities: Maya Yucatec identities in a postmodern world

In numerous anthropological works there have been preoccupations about the relationships between Indigenous and non-Indigenous peoples. Whatever social researchers have concluded, one thing is consistent: the tendency to interpret ethnographic “data” in terms of binary oppositions. This dissertation reviews the works which have been centered upon binary oppositions, as for instance, in the case of Yucatan, between the Maya and the Dzul—the Yucatec Maya term for white males—and highlights the fact that such works have failed to recognize that within and between each “pole,” or social group there are individuals that have multiple identities, and that do not recognize themselves as belonging to a homogenized “pole.” Instead, these individuals, recognize themselves as belonging to different groups and, therefore, being aware that they have not a single identity but multiple ones. ^ Analogical anthropology is highly criticized because of its emphasis on binary oppositions, its authoritarianism, and the notion of the “Other.” In contrast, dialogical anthropology places great importance on the relationship between the individuals and the anthropologist. A relation in which both, the anthropologist and the subject, are immersed in a dialogue, because of the identification between the writer and the story that is being written. ^ However, anthropologists seem to be more interested in “dialoguing” among themselves rather than with the people that they write about. Indigenous people are relegated, they are voiceless, and, therefore, we keep treating them as “objects,” and not as individuals. This is ironic, precisely because it undermines the aim of the dialogical discourse. ^ In this context, awareness of self-identity or self-identities and the various ways in which Francisco, a good friend and the main character of this dissertation, assumes them, and the way I assume them, within multicultural contexts, leads us along the road to establish and reestablish communication. The methodology is based on four considerations: positioning, fieldwork conversations, self reflexivity and vulnerability. Hence, this dissertation constitutes an attempt to break with authoritarian models of ethnography, it is a dialogue between Francisco and me, a conversation among ourselves. A dialogue that expresses the desire of hearing our voices being echoed by each other. ^

Revaloracion de la comedia de Pedro Munoz Seca: Un teatro menospreciado

The comedies of Pedro Muñoz Seca (1879-1936) received extraordinary public acclaim for over thirty years, yet critics rejected them. Although several experts have recently begun to study his plays in an objective manner, this author has generally either been underrated or omitted from theater histories. This study identifies the merit, contributions and relevance of Muñoz Seca's works so that the unwarranted void that now exists in Spanish theater annals is justly filled. Historical and biographical backgrounds and a brief sketch of the development of comedy in Spain serve to introduce the literary, political and social contexts in which the author develops the subgenre known as "astracán" and introduces the "fresco" character type. ^ This analysis illustrates Muñoz Seca's verbal comic techniques---the use of regional dialects and individuals' speech peculiarities, double entendres, incongruence, periphrasis, and ingenious plays on words. It also explores the author's profound theatrical sense manifested in inter-textual references and self-reflexivity within the content of his plays. In addition, it identifies the scenic creativity he displays through the use of cinematography, the removal of color from stage decor (or the elimination of scenery altogether), and the original application of music to create comic effect. Furthermore, this study comments the satirical tone projected in Muñoz Seca's characters' idiolect and barbarisms as socio-political conditions worsen. Finally, it brings forth the author's use of parody to criticize his society and to deride other theatrical genres in vogue during his time. ^ While the polarization between Muñoz Seca's popular success and the critics' rejection can be explained by esthetic and ideological prejudices, this dissertation ascertains that the true nature of the author's plays has not been properly identified. The "astracán" is a double parody; however, since it caricaturizes a comic subgenre that is already burlesque, its defining parodic features have been consistently misinterpreted as mere exaggerations and defects. What is more, as its critical content is not recognized, its renewing function goes unnoticed. Muñoz Seca's "astracán" illustrates an era of the Spanish comic stage and paves the way for the theater of the absurd. Its merit and relevance must be recognized. ^

El discurso vindicatorio de Juan Goytisolo y Zoe Valdes: Deconstruccion y recodificacion del lenguaje hegemonico

The goal of this dissertation is to explore the use of transgressive language in the works of Juan Goytisolo and Zoé Valdés. This study examines the socio-political and cultural contexts in which the narrative of both authors develops, as well as the textual devices employed by these writers for undermining the “official history” imposed by the dictatorial regimes in Francoist Spain and Castro's Cuba. Furthermore, this dissertation argues that the deconstructing strategies in Goytisolo and Valdés mark their literary trajectory. Their vindicatory standpoints seek an alternative discourse of national identity. ^ The function of language in demythifying and recodifying hegemonic discourse is examined in Goytisolo's trilogy Señas de identidad, Reivindicación del conde don Julián, and Juan sin tierra; and the novels of Zoé Valdés La nada cotidiana and Te di la vida entera. The parallelisms in the literary works of Goytisolo and Valdés are established by contrasting the authors' revisionist approach to history, the self-reflexivity of their novels, the sexual referent, and the use of irony and parody. The theoretical framework incorporates poststructuralist theorists such as Todorov, Foucault, Lacan, Barthes, Derrida, and Kristeva; the psychoanalytical theory of Freud; and the feminist theories of Cixous and Irigaray. The comparative approach of this study and the interplay of power, politics, aesthetic creation, and author's psychology provide an illuminating perspective that could be of interest to individuals from a variety of disciplines. ^

Ateliê biográfico de formação profissional: prática socioeducativa em Escola Judicial

In recent decades, debates have intensified about (auto) biographical narratives as devices of socio-educational practices, aligned to the educational setting of the XXI century which have stimulated a new educational perspective woven with epistemological and methodological training throughout life. Towards that scenario, the continued training in Judicial School has occupied important space for constitutional effectiveness and, on the other hand, has grown the demands of expanding knowledge and enhancing training practices, in turn, judicial practices. The aim is to analyze the reflective Group through "Professional Training biographical Workshop" with Bailiffs such as socio-educational practices in socio Judicial School, in the city of Natal /RN. It has highlighted the questions that guided this study: 1. What paths of experiences and knowledge shared by the Law Officials, Federal Appraisers in "Professional Training biographical Workshop" as reflective Group? 2. How is organized the reflective Group as practice in socio-professional training setting? 3. What contributions narratives of themselves bring to the bailiff in reflective Group on Judicial School? The theoretical assumptions are supported in the lifelong training in methodological and epistemological dimension of (auto) biographical knowledge (JOSSO, 2008, 2010, 2012; PINEAU, 2005, 2006; DOMINICÉ, 2010; DELORY-MOMBERGER, 2006, 2008; FREIRE, 1987, 1996, 2001; PASSEGGI, 2008; 2010; 2011; 2012). In 2009, 09 (nine) civil servants in post of Federal Appraiser Justice Official, law graduates participated in this research through eight (08) "Biographical Workshops of Professional Training", consisting of biographical practices and scenarios, enabling oral and written narratives about a memory that has meaning, relationship and tessituras between files, facts and feelings that reveal the perception of self and other, as well as mobilize and weave the training process. The experiences of speaking, writing and reading were constituted of spaces that facilitating the reconstruction of the trajectory of training and career awareness-making, helping to re-signify labor relations and lead to their own professional design. From this study, the reflective properties of groups have emerged, consisting of Reflexivity, Experience, Historicity, Reversibility, dialog and formability processes, with paths to social and educational practices in which professionals identify the meaning and significance of self and of the profession that are exercising. The expectation is to continue with the spirit of research to emerge from the participants responses to training practices in Judicial School, aligned with the new knowledge of understanding the human being, not only an object of his work, but also a social subject, co-participant in the process of re-signifying life and work in a permanent way.

Cobayes de la relève : l’artiste et le chercheur à la rencontre de l’expérience

Essai / Essay

Weathering the crisis? Managing democracy at a national broadcaster

With post-2008 political and economic crises as its backdrop, this inquiry into the political roles and functions of public service broadcasting (PSB) in Ireland is principally concerned with examining the capacities for and actuality of critical and counter-hegemonic professional journalistic and institutional mediations of crisis. Recognising the diversity of influences on the normative identity of Irish PSB, the dissertation adopts a sociological approach that acknowledges the systemic embedding of media institutions in the broader field of power. An initial tracing of the formative impacts of endogenous and exogenous forces on the democratic horizons of PSB suggests that the present crisis conjuncture does not represent promising terrain for engendering critical crisis and recovery imaginaries. A methodologically diverse intra-institutional empirical research agenda aims to explore at close hand Irish PSB’s contingent navigation of crisis, encompassing ethnographic observation in the newsroom, practitioner interviews and textual analysis of broadcast output. These methods afford close analysis of practices of journalistic production and reflexivity, self-conceptions of the journalistic habitus, and ideological affinities of crisis framings in broadcast output. These analyses are supplemented by a participant observation study of the possibilities for public agenda-building in a key institutional venue of public participation in broadcasting governance. The findings offer an evidential basis for the arguments that the crisis has prompted only minimal changes to professional norms and practices of representation and inclusion; that journalistic crisis framings tend toward effecting hegemonic repair by lending support to neoliberal crisis and recovery imaginaries; and that the institutional openings for the building of public counterpower are highly constrained. The overall conclusion is made that the normative democratic orientation embedded in the professional and institutional projects of public service broadcasting help render it ill-equipped to act as a re-democratising countervailing power against the democratic regressions engendered by the present crisis of democratic capitalism.

Cobayes de la relève : l’artiste et le chercheur à la rencontre de l’expérience

Essai / Essay

La Representación del Museo: Reflexionando sobre la Museología Reflexiva

En este artículo se analizan las definiciones aceptadas para el campo científico de la museología concebidas por los teóricos del ICOFOM que primero cuestionaron al “museo” como paradigma. Pretende señalar algunas de las inconsistencias en la museología filosófica strankiana con el fin de reformular el concepto de su objeto de estudio. Este debate requerirá una revisión de dicha perspectiva filosófica a través del punto de vista sociológico, a la luz de la teoría del actor-difusor de la red propuesta por Bruno Latour. Finalmente, el artículo sostiene que la relación hombre-realidad forjada en Occidente como una actuación del museo hegemónico no debería definir el objeto de estudio de la museología. Por el contrario, debería tener en cuenta todo tipo de posibles asociaciones entre las diferentes funciones que se realizan, evolucionando desde un corpus de reflexiones sobre el museo hacia una disciplina museológica reflexiva.