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1
Nourkova, V. V., and O. S. Sulim. "Evocation of the self: self-defining mental photographs." Etnograficheskoe obozrenie, no. 6 (December 15, 2023): 61–76. http://dx.doi.org/10.31857/s0869541523060052.
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The acquisition of mental tools is a uniquely human mode of resisting situational pressure and achieving psychological self-determination. The fact that material photographs effectively trigger autobiographical memories has led to the hypothesis that they have functional counterparts in the form of memories of the most personally significant photographs. One hundred and eighty-five participants volunteered to recall, describe, and rate on several scales the memories of photographs that best express their personality. The “self-defining mental photographs” obtained from the participants were found to be subjectively attractive, highly functional, and expressive of various personality traits. The exploratory factor analysis suggested a three-factor solution interpreted as qualitatively specific types of mental photographs. Mental photographs scoring high on Factor 1 (Focus on the event) may serve as retrieval tool for extracting personal sense from a concrete episode of the past. High scores on Factor 2 (Detailed image of the narrator) probably refer to the internal dialogue between past and present self. High scores on Factor 3 (Holistic Self) were attributed to the integrated experience of personality-destiny unity coinciding with the awareness of one's history of existence.
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Schubert, Emery. "A Special Class of Experience: Positive Affect Evoked by Music and the Arts." International Journal of Environmental Research and Public Health 19, no. 8 (April 14, 2022): 4735. http://dx.doi.org/10.3390/ijerph19084735.
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A positive experience in response to a piece of music or a work of art (hence ‘music/art’) has been linked to health and wellbeing outcomes but can often be reported as indescribable (ineffable), creating challenges for research. What do these positive experiences feel like, beyond ‘positive’? How are loved works that evoke profoundly negative emotions explained? To address these questions, two simultaneously occurring classes of experience are proposed: the ‘emotion class’ of experience (ECE) and the positive ‘affect class’ of experience (PACE). ECE consists of conventional, discrete, and communicable emotions with a reasonably well-established lexicon. PACE relates to a more private world of prototypical aesthetic emotions and experiences investigated in positive psychology. After a review of the literature, this paper proposes that PACE consists of physical correlates (tears, racing heart…) and varied amounts of ‘hedonic tone’ (HT), which range from shallow, personal leanings (preference, liking, attraction, etc.) to deep ones that include awe, being-moved, thrills, and wonder. PACE is a separate, simultaneously activated class of experience to ECE. The approach resolves long-standing debates about powerful, positive experiences taking place during negative emotion evocation by music/art. A list of possible terms for describing PACE is proposed.
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Keiser, Mel. "The Personal as Postcritical and Theopoetic." Tradition and Discovery: The Polanyi Society Periodical 48, no. 2 (2022): 4–21. http://dx.doi.org/10.5840/traddisc20224829.
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Exploring Polanyi on religion in Personal Knowledge and Meaning as mystical, metaphoric, and mythic as well as ritual and belief, I seek to clarify the meaning of the personal through a lens combining postcritical and theopoetic perspectives. Stanley Hopper’s theopoetic similarly criticizes, and seeks unconscious depths beneath, modern dualism, deepening Polanyi’s discussion of the religious efficacy of figural language. The personal for Polanyi embraces tacit commitment, from-to emergence, communal connectedness, creativity shaping our world, integrating self and world through figural language, process of discovery, and affirmation of God as presence and integrative agency in our existence and understanding. Poteat deepens the personal with effects of first-person-singular grammar. While affirming via negativa, letting go of frameworks, Polanyi insists traditional frameworks are essential to religion. He criticizes modern poetry for shattering Christian frameworks. Not recognizing religion in its fragments, he misses an unrealized potential for understanding religion as the depths of the tacit dimension. Letting go all frameworks, thoughts, rules, and goals in the via negativa, we dwell in mystery within which God presences through evocation of poetic images, and we experience our personhood as elusive selves enveloped in and impelled by divine Mystery.
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LAMBERT-HURLEY, SIOBHAN. "The Heart of a Gopi: Raihana Tyabji's Bhakti Devotionalism as Self-Representation." Modern Asian Studies 48, no. 3 (July 9, 2013): 569–95. http://dx.doi.org/10.1017/s0026749x12000704.
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Raihana Tyabji is best known in history, not for her writing or even her singing, but as a devotee of Gandhi. Yet in 1924 this at least nominally Muslim woman composed a small book of bhakti devotionalism that has continued to garner popular interest right into the twenty-first century. She gave it the evocative title, The Heart of a Gopi, on the basis that what had been revealed to her was the very ‘soul’, the inner self, of the gopi and, through that, an understanding of Lord Krishna himself. This paper considers the question of how far this piece of bhakti devotionalism may be read as a kind of personal narrative, an evocation of the self. Does the referencing of an established narrative tradition give the author's feelings and experiences, especially as a Muslim woman devoted to Krishna at a time of increasing religious rigidity and growing communal strife, a kind of validity not achievable otherwise? And, if so, how do we separate out the author's ‘self’ from the literary conventions—in this case, the gopi tradition—that structure the story? In the tradition of Islamic life-writing, can the gap between the miraculous and the mundane be breached in order to understand the mystical experience charted here as a kind of autobiography? Even from the rationalist's perspective, should not the life of the imagination still be considered part of the life?
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Lawrence, Clare, John Rimmer, and Aimee Quickfall. "Using an arts-based design to explore the experience of Shared Reading: A pilot study." Journal of Arts & Communities 12, no. 1 (June 1, 2021): 85–103. http://dx.doi.org/10.1386/jaac_00024_1.
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This pilot study explores the use of an arts-based design to record the experience of a Shared Reading workshop. There is considerable evidence of the effectiveness of Shared Reading as a support for well-being across a wide range of situations and settings, and studies have suggested that this literature-based intervention may have the potential to support both thinking and feeling. However, describing the personal and emotional responses that provoke the impact of Shared Reading is a challenge. The capture of the discussion occurring during this pilot workshop is made visual using both words and pictures, and this ‘capture’ is then synthesized and an evocation is created using the medium of film. This article discusses the process and the effectiveness of this arts-based approach as evidenced during data collection, in interpretation and again in dissemination, and implications for further use of this methodology are explored.
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Holbrook, Morris B. "Reflections on Rocky." Society & Animals 4, no. 2 (1996): 147–68. http://dx.doi.org/10.1163/156853096x00133.
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AbstractThis paper applies an approach that the author calls Subjective Personal Introspection (SPI) to the self-reflective examination, inward-looking understanding, and impressionistic evocation of his own consumption experiences as the keeper of a kitten named Rocky Raccoon. Three-dimensional photographs in the form of stereo pairs provide corroborative evidence for the interpretations suggested. In this reflexive, anecdotal, narrative account, Rocky the Cat emerges as a focal point in the author's experiential consumption.
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Stoker, Wessel. "De Rothko kapel schilderijen en de ‘urgentie van de transcendente ervaring’." NTT Journal for Theology and the Study of Religion 62, no. 2 (May 18, 2008): 89–105. http://dx.doi.org/10.5117/ntt2008.62.089.stok.
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Since the Romantic period, painters have no longer made use of traditional Christian iconography to express religious transcendence. Taking their cue from Schleiermacher’s Über die Religion, painters have sought for new, personal ways to express religious transcendence. One example is Caspar David Friedrich’s ‘Monk by the Sea’. Rosenblum argues, in his Modern Painting and the Northern Romantic Tradition, that there is a parallel between Friedrich and the abstract expressionist Rothko with respect to the expression to religious transcendence. In this article I investigate how the experience of transcendence that Rothko’s paintings want to evoke is to be described. Is it an experience of the sublime in the Romantic tradition? Is it the evocation of the ultimate in accordance with Tillich’s broad concept of religion? Does it display affinity between Rothko and the postmodern sublime of Lyotard? Or is it a transcendent experience that cannot be situated so easily within the options supplied? After determining Rothko’s understanding of transcendence, some issues will be brought up that could be fruitful for Christian theology.
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Piht, Sirje, Piret Lehiste, Rea Raus, and Mariliis Lazarev. "THE RELEVANCE OF EVOCATION AND REFLECTION CARDS IN THE LEARNING PROCESS." Problems of Education in the 21st Century 41, no. 1 (April 5, 2012): 61–74. http://dx.doi.org/10.33225/pec/12.41.61.
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When starting school, most students have a desire to learn and are motivated to participate actively in the learning process. Lack of interest is what undermines learning. Research on children's well-being in the European Union (EU), conducted at York University in 2006, indicated that Estonia stands out among 25 EU countries with the lowest level of students who enjoy school and have a feeling of well-being. However, the results of 2006 and 2009 PISA (Programme for International Student Assessment) research indicate that Estonian students do have good subject knowledge and study skills. The Estonian Human Development Report 2009 states that 70% of Estonian students consider their study load too heavy, 67% feel fatigue and 33% do not want to go to school at all. The report indicates that schools do not pay enough attention to personality development, analysis and discussion (Eesti Koostöö Kogu, 2010). Based on the results of the above-mentioned research, it can be said that Estonian students have good subject knowledge, but learning offers them neither pleasure nor interest (Organisation for Economic Cooperation and Development [OECD], 2007; Puksand, Lepmann & Henno, 2010). The key question for this research was how learner-centered goal setting and reflection support the learners´ skills to set their own goals for the learning process and to analyze it. Learners are interested in the learning process in case they understand the goals, are actively involved, and take responsibility for their actions. Learners should experience success and get immediate feedback on their activities. Ninety-six different evocation and reflection cards were tested by 24 Estonian teachers in the spring of 2011. The purpose of testing was to clarify how effective the usage of evocation and reflection cards is in supporting students in setting goals and analysing their activities. The quantitative research method (in the form of a questionnaire) was used in order to discover teachers` personal opinions, attitudes and approach to the cards and make conclusions about the relevance of the cards in supporting students` involvement in the evocation and reflection phase of learning. The research results showed that giving and receiving feedback develop students´ self-image, motivate them to participate in the learning process and develop their study skills. The relevance of evocation and reflection cards depends greatly on a teacher's opinion and will to use them. If a teacher does not possess enough knowledge about how to involve students in goal setting and analysis of the lesson, the efficiency of these cards is not evident. Key words: evocation, learning motivation, reflection.
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Wojda, Dorota. "„Czemu Cię nie ma na odległość ręki”. Listy – zdarzenia literackie Adama Ziemianina." Przestrzenie Teorii, no. 30 (April 16, 2019): 205–30. http://dx.doi.org/10.14746/pt.2018.30.10.
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The article deals with Adam Ziemianin’s epistolary poetry (bringing both the subject of letters and imitating their formal qualities), which is discussed as a collection of literary events. Such an interpretation draws attention to the performativity of this writing, that is, its causative function, which results in the actualization of the text through the reader’s personal experience. Therefore, the interpretation here takes into account not only Ziemianin’s poems, but also their popularity as songs performed by the group Stare Dobre Małżeństwo. The most important conclusion presented in this paper focuses on the paradoxes of epistolary poetry: the evocation of both presence and absence, synchrony and asynchrony, combining private with public, as well as merging the literary dimension with real existence. Most of these paradoxes are motivated by the desire to rescue love and overcome death, as indicated by the symbolism of the letter and the well – serving as life-giving mediators.
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ROBINSON, EMILY. "THE AUTHORITY OF FEELING IN MID-TWENTIETH-CENTURY ENGLISH CONSERVATISM." Historical Journal 63, no. 5 (February 12, 2020): 1303–24. http://dx.doi.org/10.1017/s0018246x19000682.
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AbstractConservatism claims to be a philosophy of common sense and everyday experience, in which sensation takes priority over reason. This article asks how this was understood by both Conservative thinkers and grassroots members in mid-twentieth-century England, and how it sat alongside other ways of understanding the feelings and experiences of ordinary people, in a period in which these came to be regarded as a privileged form of political authority. The article shows that the Conservative everyday was rooted in individual sensory experiences, but always underpinned by the collective evocation of reverence, majesty, and awe. It traces understandings of the everyday and the awesome through political texts and grassroots publications, showing that the tension between them is what gives Conservatism its distinctive character. This is conceptualized in Burkean terms as the beautiful and the sublime. The latter guarantees order, hierarchy, and allegiance, while the former works to soften and socialize power – making it seem a matter of custom and common sense. The article suggests that this combination enabled Conservatism to adapt to the challenges of mass democracy but became ever harder to sustain in the emotional culture of post-war England, when feelings became a marker of personal authenticity, rather than cultural authority.
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McAuliffe, Chris. "Trying to Live Now: Chronotopic Figures in Jenny Watson’s A Painted Page Series." Contemporaneity: Historical Presence in Visual Culture 3 (June 5, 2014): 1–20. http://dx.doi.org/10.5195/contemp.2014.98.
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Between late 1979 and early 1980, Australian artist Jenny Watson painted a sequence of six works, each with the title A Painted Page. Combining gridded, painted reproductions of photographs, newspapers and department store catalogues with roughly painted fields of color, the series brought together a range of recent styles and painterly idioms: pop, photorealism, and non-objective abstraction. Watson’s evocation of styles considered dated, corrupted or redundant by contemporary critics was read as a sign of the decline of modernism and the emergence of a postmodernism inflected with irony and a cool, “new wave” sensibility. An examination of the Painted Pages in the context of Watson’s interest in autobiography and her association with the women’s art movement, however, reveals the works to be subjective, highly personal reflections on memory, self and artistic aspiration. Drawing on Bahktin’s model of the chronotope, this paper argues for a spatio-temporal reading of Watson’s Painted Pages rather than the crude model of stylistic redundancy and succession. Watson’s source images register temporal orders ranging across the daily, the seasonal and the epochal. Her paintings transpose Bahktin’s typology of quotidian, provincial and “adventuristic” time into autobiographical paintings of teenage memories, the vicissitudes of the art world and punk subcultures. Collectively, the Painted Pages established a chronotopic field; neither an aggregation of moments nor a collaged evocation of a period but a point at which Watson closed off one kind of time (an art critical time of currency and succession) and opened up another (of subjectivity and affective experience).
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Carreri, Roberta. "The Actor's Journey: ‘Judith’ from Training to Performance." New Theatre Quarterly 7, no. 26 (May 1991): 137–46. http://dx.doi.org/10.1017/s0266464x00005418.
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New Theatre Quarterly has provided extensive coverage of the work of Odin Teatret, based since 1966 at Holstebro in Denmark, as also of the approach and ideas of its director, Eugenio Barba, who first wrote for us on ‘The Nature of Dramaturgy’ in NTQ1 (1985). Most recently, we documented Odin's twelfth production, Talabot, through David Shoemaker's analysis in NTQ24 (1990). Here, we offer an actor's experience of the creation of a one-person production – uniting personal circumstances, experiences in training, and exploratory research in the process which led towards the creation of Judith, based on the apocryphal story of the woman who seduced an enemy general in order to murder him. Its performer, Roberta Carreri, joined Odin Teatret in 1974, since when she has also performed in The Book of Dance (1974–80), Come! and the Day Will Be Ours (1976–80), Anabasis (1977–84), The Million (1978–84), Brecht's Ashes (1980–84), and The Gospel According to Oxyrhincus (1985–87). Her evocation here of the process which led to the creation of Judith is based on an interview with Exe Christoffersen, who also provides a detailed scenario of the production in performance. This feature forms part of Exe Christoffersen's Skuespillerens Vandring, published in Denmark by Klim in 1989. It has been excerpted and translated for NTQ by Gordi Roberts.
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Petriglieri, Gianpiero, and Susan J. Ashford. "Theorizing Gets Personal: Management Academia in the Mirror of Independent Work." Organization Theory 4, no. 1 (January 2023): 263178772311531. http://dx.doi.org/10.1177/26317877231153188.
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With the rise of a global marketplace for research ideas, and the increased precarity of teaching positions, academic labor occurs more so than ever in conditions that resemble those faced by independent workers. We came to this realization in the process of bridging these two worlds, so dissimilar institutionally and yet so resonant existentially. The freedom that must be coped with, the personal investment work, and the precariousness experienced, for both independent workers and academics, contribute to an obsession with productivity as a way to manage strong and conflicting emotions attendant to work. This essay offers a lens to interpret that obsession, and some advice for countering it and crafting a viable and vital working life, by cultivating connections to significant people, a specific and evocative place to work, soothing routines, and an overarching purpose. We must examine the experience of those who theorize for a living, this essay argues, if we aspire to bring theories to life. Focusing on the personal, existential experience of “being” an academic, the essay complements work on the social and institutional challenges of “doing” academia, and contends that sustaining personal investment in work is essential to developing more pluralistic and potent theories about the contemporary world of work.
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Sohrabi, Tayebeh. "An Autoethnography about being an International Student." Canadian Journal of Family and Youth / Le Journal Canadien de Famille et de la Jeunesse 15, no. 1 (January 1, 2023): 112–24. http://dx.doi.org/10.29173/cjfy29899.
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The number of immigrant and international students in Canada and other Western countries has increased in recent decades. This group of people faces many challenges, especially at the beginning of their entrance to the host country, such as different expectations regarding two different cultures, being away from their family and loneliness, financial problems, language limitations, and racism. As the experiences of these students can affect their satisfaction and success during their academic years, it is essential to explore the experiences of this growing population during their higher education. In this paper, I explore my own experience as a female international student. My first several years in Canada illustrate the everyday struggles I have faced to attain social, cultural, and linguistic development and build a new life in a new country. Using evocative autoethnography as a research methodology has revealed layers of my consciousness by connecting my personal experience to culture. This autoethnographic study presents the reflections of an Iranian female scholar’s experiences in Canadian higher education; it explores how my personal status as an Iranian female scholar, along with social factors, have shaped my academic experiences in Canada.
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Cho, Sookja. "Leaves of Regret, Flowers of Gloom: Mourning Ghosts and Crafting a Theater of Han in the Dream Journey Narrative." Journal of Korean Studies 25, no. 1 (March 1, 2020): 3–34. http://dx.doi.org/10.1215/07311613-7932219.
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Abstract This article scrutinizes the representation of gender and war experiences in seventeenth-century mongyurok (records of a dreamer’s journey), addressing in particular their contribution to a widening of the Korean literary landscape and writing practice of the time. These tales liberated the suppressed voices of war victims, weaving their individual pain and loss into a broader discourse on war, rife with trenchant criticism of those responsible. The article investigates how the dream journey records succeed in drawing such powerful public messages from personal experiences and thus evolve into a strongly critical narrative and a collective releasing of han (grudge). Focusing on female revenants and their mode of storytelling in the Kangdo mongyurok (Record of a Dreamer’s Journey to Kangdo), the article demonstrates how narrative elements, particularly the evocation of sound and the interplay of different ontological realms, foster both social criticism and individual han-releasing. The theatricality of ghostly sounds and performances in the narrative transforms a dismal (post)war reality into an auditorium for voices offering change and healing to both the dead and the living. This powerful storytelling invigorated mimetic interest and provided viable supernatural metanarratives, driving literary evolution forward.
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Raymaker, Dora M. "Reflections of a community-based participatory researcher from the intersection of disability advocacy, engineering, and the academy." Action Research 15, no. 3 (March 14, 2016): 258–75. http://dx.doi.org/10.1177/1476750316636669.
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This article uses an evocative autoethnographic approach to explore the experience of being an insider-researcher in a community-based participatory research setting. Taking a holistic perspective and using the form of narrative story-telling, I examine the dynamics between the typically marginalizing (but sometimes empowering) experience of being an autistic woman and the typically privileging (but sometimes oppressive) experience of being an engineering professional, during a time of career upheaval. Themes of motivations and mentors, adversity from social services and the academy, belonging, the slipperiness of intersectional positioning, feedback cycles of opportunity, dichotomies of competence and inadequacy, heightened stakes, and power and resistance are explored through the narrative. While primarily leaving the narrative to speak for itself per the qualitative approach taken, the article concludes with a discussion of how the personal experiences described relate both to the broader work of insider-researchers within disability-related fields, and to misconceptions about self-reflection and capacity for story-telling in individuals on the autism spectrum.
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Shand, Kate. "Doll making: An art therapy approach to support bereaved clients." South African Journal of Arts Therapies 2, no. 2 (November 22, 2024): 197–217. http://dx.doi.org/10.36615/2br6gd19.
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This article is about an art therapy doll making process to support bereaved clients. I explore the potential of doll making in the context of bereavement and art therapy, using the lens of object relations theory and attachment theory. I reflect on an arts-based self study of my own doll making experience based on my Art Therapy Honours research. I will also present a process that art therapists can use when working with dolls and bereaved clients. The aim of this article is to answer the question, why is making dolls such a powerful and evocative experience, both as a support during bereavement but also beyond? The article emerges from a desire to understand how doll making can be used by art therapists to support bereaved clients, using both the existing literature on dolls and doll making as well as my own experience of making dolls. I use a literature review and reflections on my own doll making practice. The arts-based approach permits me to write from a personal perspective to investigate and explore my doll making experience, in relation to both practice and theory. Doll making can be a powerful and evocative activity that has many therapeutic benefits, in particular as a support for bereavement. There is limited literature on doll-making and art therapy, as well as bereavement and art therapy, and therefore this article is a contribution to original knowledge. It derives from a literature review, arts-based research and from personal reflection into my own processes, producing a process that is original and replicable.
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Rawlins, L. Shelley. "Poetic Existential: A Lyrical Autoethnography of Self, Others, and World." Art/Research International: A Transdisciplinary Journal 3, no. 1 (March 1, 2018): 155–77. http://dx.doi.org/10.18432/ari29208.
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“Poetic Existential” is a collection of lyrical autoethnography. This body of work explores existential themes relating to globalization and the immigration/refugee humanitarian crisis, “freedom” as personal/political/geographical ideology, and my own experiences of being a situated self alongside others. Lyrical poetry coaxes a person to embody and present experience through restrained (Faulkner 52), yet evocative descriptions – without the neat folds and contextual blanketing common to many narrative approaches. The challenge of autoethnographic poetry is to perform a focused crystallization of experience via lyrical aesthetics (arrangement, word choice, rhythm, rhyme, phrase and line structure, etc.). In the accompanying artist statement, I theorize my poetic engagement with attention paid to what the lyric facilitates in my scholarly work. In this exploratory fusion of lyrical expression, autoethnography, and existentialism, I hope to summon the aesthetic powers of poetry in the service of self-reflexivity, and in relation to the plight of millions of disenfranchised others.
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Gkoumas, Aristeidis, Robert Kiss, and Kimberly Heeren. "The quarantine hotel experience: travel diaries of compulsory confinement." Journal of Qualitative Research in Tourism 4, no. 1 (December 15, 2023): 16–35. http://dx.doi.org/10.4337/jqrt.2023.01.02.
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During the summer of 2021, 14 days of quarantine at designated hotels was a mandatory Covid-19 restriction for all travellers entering Taiwan. This study employs the duo-ethnographic method to investigate the implications of quarantine hotel confinement on the emotional, physiological and psychological state of individuals. The emic approach of autoethnography provides a reflexive and evocative source for describing the feelings, emotions, perceptions and challenges during compulsory isolation in designated lodgings. Goffman’s (1961) typology for total institutions served as the conceptual tool to examine the characteristics of the social arrangement in quarantine hotels. The empirical data revealed the profound consequences of isolation. This paper outlines the detrimental implications of role dispossession, deprivation of personal freedom, programming and controlling, and disruption of key spheres of life, along with the imposition of acceptable behaviours regarding the mental health and emotional state of guests during confinement.
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Dr. Mohit Mani Tripathi. "Exploring Folklore and Fantasy: Eudora Welty’s Interpretation of The Robber Bridegroom." Creative Launcher 8, no. 4 (August 31, 2023): 53–60. http://dx.doi.org/10.53032/tcl.2023.8.4.06.
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Eudora Welty, a celebrated American novelist renowned for her deft literary touch, prominently positioned herself within literary tradition with her famous novella, The Robber Bridegroom, which was published in 1942. This work, uniquely situated within the cultural tapestry of Mississippi, integrates elements drawn from American mythology and historical figures of the American South, weaving them into the fascinating tale of the gentleman robber Jamie Lockhart. The present research paper embarks on an exploratory journey into the complex tapestry of The Robber Bridegroom, offering a multifaceted analysis that bridges the gap between folklore, fantasy, and reality. It investigates the peculiar confluence of wisdom, seriousness, mysterious wilderness, amusement, and disenchantment—ingredients often found in traditional fairy tales. This synthesis resonates with the timeless quality of myth and resonates with a contemporary audience. Central to this exploration is an analysis of Welty’s intricate character portrayals and her deft use of irony and humor. These literary devices, alongside her nuanced evocation of the setting, serve to underscore a profound reflection on the transient nature of human connections. Moreover, this paper delves into Welty’s portrayal of the Western civilization’s impact on the indigenous Natchez tribe, a theme that lends the story historical depth and sociocultural relevance. In examining the dualities that permeate the narrative, such as enlightenment and ignorance, civilization and wilderness, the study highlights Welty’s ability to transcend simple dichotomies, presenting a fairy tale-like narrative that also fosters critical inquiry into the development of writing skills and artistic expression. Furthermore, the paper provides insights into how Welty’s narrative functions as a metaphorical bridge, connecting historical realities with a broader human experience, thus reinvigorating classical motifs with modern sensibilities. The present research article reveals a rich and multifarious literary landscape that bears witness to Welty’s masterful command of her craft. The research contributes to a deeper understanding of her work, and by extension, the intricate web of cultural, historical, and personal relationships that define our collective human experience.
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Sharif, Iqra, Hanana Sultan, and Binish Jameel. "Through the Eyes of a Target: An Auto Ethnographic Account of Bullying in University." Global Sociological Review VIII, no. I (March 30, 2023): 299–306. http://dx.doi.org/10.31703/gsr.2023(viii-i).29.
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This autoethnography examines my personal experiences with bullying as a university student, both as a target and a bystander. Through critical reflection on vignettes from my memories, I identify key themes related to the dynamics, impacts, and systemic factors surrounding bullying in this setting. Findings reveal diverse manifestations of bullying, from overt harassment to microaggressions. Victims are targeted for perceived differences, leading to profound psychological impacts. Bystanders often fail to intervene due to discomfort with confrontation or fear of social repercussions, implicitly enabling bullying. University climate and leadership also play a key role in either inhibiting or perpetuating bullying behaviours. The study illuminates the need for multilayered interventions encompassing culture change, education, policy reform, and youth activism. While limited to one perspective, this account provides an evocative, nuanced look into the lived experience of bullying.
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Lang, Jacob, Despina Stamatopoulou, and Gerald C. Cupchik. "A qualitative inquiry into the experience of sacred art among Eastern and Western Christians in Canada." Archive for the Psychology of Religion 42, no. 3 (June 27, 2020): 317–34. http://dx.doi.org/10.1177/0084672420933357.
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This article begins with a review of studies in perception and depth psychology concerning the experience of exposure to sacred artworks in Roman Catholic and Eastern Orthodox contexts. This follows with the results of a qualitative inquiry involving 45 Roman Catholic, Eastern and Coptic Orthodox, and Protestant Christians in Canada. First, participants composed narratives detailing memories of spiritual experiences involving iconography. Then, in the context of a darkened room evocative of a sacred space, they viewed artworks depicting Biblical themes and interpreted their meanings. Stimuli included “Western” paintings from the Roman tradition—a selection from the Gothic, Northern Renaissance, and Renaissance canon—and matched “Eastern” icons in the Byzantine style. Spiritual experience narratives were analyzed in terms of word frequencies, and interpretations of sacred artworks were analyzed thematically. Catholics tended to utilize emotional language when recalling their spiritual experiences, while religious activity was most often the concern of Protestants, and Orthodox Christians wrote most about spiritual figures and their signifiers. A taxonomy of response styles was developed to account for participants’ interpretations of Western and Eastern artworks, with content ranging from detached descriptions to projective engagement with the art-objects. Our approach allows for representation of diverse Christians’ interpretations of sacred art, taking into consideration personal, collective, and cultural-religious sources of meaning. Our paradigm also offers to enrich our understanding of the numinous or emotional dimension of mystical contact.
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Sánchez García, Laura, and Angelica Pinna-Perez. "Expressive Flamenco ©: An Emerging Expressive Arts-Based Practice." American Journal of Dance Therapy 43, no. 1 (January 21, 2021): 3–35. http://dx.doi.org/10.1007/s10465-020-09339-2.
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AbstractExpressive Flamenco© theory and praxis is presented by Sánchez through this art-based personal reflection paper, which explores the applications of flamenco for its inherent psycho-somatic therapeutic capacities. She asserts the applied practice of flamenco (in its broadest definition), when combined with other expressive arts practices, can have therapeutic benefits; including (but not limited to) psycho-social, spiritual, and aesthetic connection to the individual's unconscious. During these experiences of arts based emotional expression, one can transcend the self into divine connection with their authentic self, what the author understands as the “duende”. By allowing one’s authentic truth to be expressed through Expressive Flamenco©, a spirit of evocation, born from within the self, appears when the self-connects with and is in creative conversation with its unconscious. The main hypothesis asserts the emergence of the “duende” facilitates an epistemological process of self-knowledge and an emotional process of catharsis, suggesting that when this art form is utilized as ‘Expressive Flamenco’ it helps facilitate holistic healing. This paper aims to stretch flamenco into new applied therapeutic practice territories, specifically in the arts therapies. Practical applications of Expressive Flamenco in the expressive therapies, including expressive arts therapy and dance/movement therapy, is presented along with the preliminary results of a virtual telehealth group facilitated during Covid-19. Professor Pinna-Perez′s critical reflections on Expressive Flamenco© and its importance to the field is presented in response to this emerging expressive arts practice.
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Putri, Aulia, and Safnidar Siahaan. "Extended metaphor in Adrienne Rich's poem: Diving into the wreck." CAHAYA PENDIDIKAN 10, no. 2 (December 30, 2024): 122–32. https://doi.org/10.33373/chypend.v10i2.6177.
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In her poignant poem "Diving into the Wreck," Adrienne Rich masterfully navigates the intricate landscape of self-discovery, unraveling the layers of personal history and confronting the formidable obstacles inherent in the quest for truth. Rich employs a nuanced blend of thematic elements and literary devices to construct an evocative extended metaphor, skillfully guiding readers through the profound exploration of diving into a wreck. The study delves into the intricate tapestry woven by Rich, shedding light on the poet's deliberate choices and the profound impact of this metaphorical journey on the overall interpretation of the poem. By immersing readers in the depths of the extended metaphor, Rich invites them to reflect on the complexities of identity, the tumultuous journey through life, and the transformative process of plumbing one's personal depths. Through this rich and imaginative exploration, the poem resonates as a timeless testament to the universal human experience of self-discovery.
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Campbell, Elaine. "Reconstructing my identity." Journal of Organizational Ethnography 7, no. 3 (October 8, 2018): 235–46. http://dx.doi.org/10.1108/joe-10-2017-0045.
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Purpose The purpose of this paper is to offer an insight into mental health illness in academia, and its impact on academic identity. Design/methodology/approach The study adopts an evocative autoethnographic approach, utilising diary entries collected during the author’s three-month absence from her university due to depression and anxiety. A contemporary methodology, autoethnography seeks to use personal experience to provide a deeper understanding of culture. In this personal story, the author explores her decline in mental health and subsequent re-construction of her academic identity in order to enhance understanding of the organisational culture of higher education. Findings This paper illustrates how, rather than being an achievement, academic identity is an ongoing process of construction. Although mental health illness can contribute to a sense of loss of self, identity can be re-constructed during and after recovery. Autoethnographic explorations of depression and anxiety in higher education provide a deeper understanding of an often stigmatized issue, but researchers should be alive to the political and ethical pitfalls associated with deeply reflexive research. Originality/value There is little autoethnographic research on mental health illness in a university setting. This paper offers unique insights into the lived experience of depression and anxiety in the context of academic life, through the lens of academic identity.
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Gaufberg, Elizabeth, and Ray Williams. "Reflection in a Museum Setting: The Personal Responses Tour." Journal of Graduate Medical Education 3, no. 4 (December 1, 2011): 546–49. http://dx.doi.org/10.4300/jgme-d-11-00036.1.
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Abstract Introduction We describe an educational innovation piloted by the director of education at a university art museum and a physician-educator using the museum holdings as reflective triggers for medical learners. This innovation is distinct from the emerging trend of using art to build observation skills, enhance pattern recognition, and improve diagnostic acumen. Our intervention is specifically designed to promote individual reflection, foster empathy, increase appreciation for the psychosocial context of patient experience, and create a safe haven for learners to deepen their relationships with one another. Methods Individuals randomly selected a question from a set prepared by the authors to guide a reflective exploration of the galleries. Each question was different, but all invited an emotional response—a connection between a work of art and some aspect of life or medical practice, for example, “Focus on a memorable patient, and find a work of art that person would find meaningful or powerful” or “Find an image of a person with whom you have difficulty empathizing.” The exploration ended with a shared tour of evocative objects selected by the participants. The duration of the exercise was approximately 1.5 hours and required minimal faculty preparation. Results Most of the participants rated the exercise as 5 (excellent) on a 5-point Likert scale and particularly cited the effectiveness at stimulating reflection on meaningful issues and community building. Discussion The exercise is easily reproducible in any art gallery space. The same basic format and facilitation technique opens new and different conversations depending on the composition of the group and the choice of artwork. Museum-based reflection warrants further experimentation, analysis, and dissemination.
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Solari, A., N. Acquarone, E. Pucci, V. Martinelli, M. G. Marrosu, M. Trojano, C. Borreani, and M. Messmer Uccelli. "Communicating the diagnosis of multiple sclerosis - a qualitative study." Multiple Sclerosis Journal 13, no. 6 (February 9, 2007): 763–69. http://dx.doi.org/10.1177/1352458506074689.
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Studies on communicating the diagnosis of multiple sclerosis (MS) are few, and all reveal communication and information deficits. We explored the personal experience of diagnosis communication of people with MS and health professionals, using a qualitative methodology. Data were obtained from two sets of focus group meetings (FGM) with people with MS (total 23; 16 females; age range: 23-70) and one FGMs with health professionals (four neurologists, three psychologists, two nurses). The methods of framework analysis were applied to meeting transcripts to identify key topics and categories. The experience of communicating/receiving an MS diagnosis was highly varied; all patients reported the moment as powerfully evocative and unforgettable. Very poor levels of support and information were sometimes given. Although diagnosis communication had improved in more recent experience, all felt it should be further improved with appropriate setting (privacy, no interruptions, sufficient time), information tailored to the individual, and continuity of care. Such improvements imply a more meaningful patientneurologist relationship, and also structural and organisational changes. Multiple Sclerosis 2007; 13: 763-769. http://msj.sagepub.com
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Rickard, Laura N., Jonathon P. Schuldt, Gina M. Eosco, Clifford W. Scherer, and Ricardo A. Daziano. "The Proof is in the Picture: The Influence of Imagery and Experience in Perceptions of Hurricane Messaging." Weather, Climate, and Society 9, no. 3 (May 31, 2017): 471–85. http://dx.doi.org/10.1175/wcas-d-16-0048.1.
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Abstract Although evidence suggests that photographs can enhance persuasive messaging by offering “proof,” less research considers their utility relative to other visual forms that ostensibly convey more information but more abstractly. Drawing on communication and information processing theory, this study examines the influence of visual features and personal experience variables in a domain with urgent need to better understand their role: hurricane messaging. In a between subjects experiment, residents of New York, New Jersey, and Connecticut (N = 1052) were exposed to a hypothetical hurricane forecast accompanied by a photograph of storm surge inundating a house (indexical image), a map of projected storm surge (iconic image), or no image (control), depending on condition. Results revealed that participants in the indexical condition perceived the greatest risk overall and were more likely to mention evacuation as a behavioral intention than did those in the iconic and control conditions, controlling for individual differences (gender, state of residence, etc.). Moreover, risk perception was greatest among residents in the indexical condition reporting fewer personal impacts of hurricanes, suggesting a moderating effect of hurricane experience on risk judgment but not on behavioral intention. Consistent with a dual-process model perspective, when exposed to an image of an identifiable “victim,” participants with less direct experience may have employed an affect heuristic, resulting in heightened risk perceptions. Practically speaking, using evocative photographs as proof may be preferable to a map or text-only approach when warning public audiences of a given hazard, but ethical issues and empirical questions remain.
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Dillard, Leigh G. "Material intersections: Image and text in the eighteenth-century commonplace." Journal of Illustration 8, no. 2 (December 1, 2021): 221–50. http://dx.doi.org/10.1386/jill_00041_1.
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The commonplace book has long provided readers-turned-writers space for textual reflection. In A New Method of Making Common-Place-Books, John Locke asserts a defined schema for the creation of this intentionally usable and personal genre, one more organic than journaling, more deliberate than note-taking. Despite renewed interest in literary ephemera of this sort, the commonplace book collectively remains on the periphery of literary studies, perhaps because the volumes found in today’s libraries reflect such varied experiences. However, it is precisely this variation that reveals insight to the readerly patterns and expectations of the time. Ranging from decorative flourishes and echoes of printers’ marks to richly scrolled title pages and evocative vignettes, the materiality of the commonplace book offered in these moments signals a heightened concern by readers to consider the visual potential of the text as part of their reading experience. This analysis looks at scattered remnants of eighteenth-century commonplace books for compelling examples of image and text relationships that reflect illustrative models from the print market.
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Daramola, Olawande. "Lessons from Postgraduate Supervision in Two African Universities: An Autoethnographic Account." Education Sciences 11, no. 7 (July 13, 2021): 345. http://dx.doi.org/10.3390/educsci11070345.
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This paper presents an evocative autoethnographic account of my postgraduate supervision experience in two African institutions while dealing mainly with students in the computing disciplines of Computer Science, Information Systems, and Information Technology. In this paper, the context of the postgraduate supervision, and the lessons learnt are presented based on personal reflection, students’ feedback, and retrospective analysis on my activities as an absorbed participant in the supervision process. The reflection of my supervision process offers vital lessons for all supervisors in the developing country context who are torn between the requirements for the student to do quality work and get published in top journals, and the challenges in their operational environment and students’ lives. The study also recommends some good practices that could help supervisors that are operating in similar contexts to mine.
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Lee, Karen V., and Peter Gouzouasis. "Tommy’s Tune." Qualitative Inquiry 23, no. 4 (August 20, 2016): 316–20. http://dx.doi.org/10.1177/1077800416659081.
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The following autoethnographic duet by faculty advisor and professor creates a dramatic and evocative account of the personal and cultural experience about a disabled student teacher. They blend storytelling and music which fuses a theoretical analysis about storytelling and life. Although sociocultural issues draw deep reflection about the emotional turmoil, cultural influences of language and social interaction provide details that critique social structures. As musician becoming teacher is a passionate yet complex endeavor, the faculty advisor shares first-hand a poetic but painful story about a disabled teacher being inducted into the teaching profession. By making explicit the personal-cultural connection, they use the life-changing epiphany to critique cultural issues about teaching and disability. As the faculty advisor approaches the professor for advice, his musicianship shifts her forward, backward, and sideways through feelings that evoke, invoke, and provoke a curriculum that does not transfer knowledge from educational method classes. Instead, it embeds musical language as a metaphorical conduit to interrogate the pros, cons and both sides of the complicated issue of disability that influences the completion of his teaching practicum for his undergraduate bachelor of education degree. An epiphany from music and story reveals the irony of living in a culture of both uniformity and diversity. They explore the constructs of ideology, abnormality, marginalization, and secrecy. Thus, by blending story and music, the authors resolve a transformative autoethnographic aspect about the personal and cultural influences that provoke new deeper ways of thinking about curriculum.
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Shahrokhi, S. "Photo albums: deconstructing narratives of the self, migration, and movable memories." Etnograficheskoe obozrenie, no. 6 (December 15, 2023): 12–25. http://dx.doi.org/10.31857/s0869541523060027.
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Photo albums, as personal and cultural material objects, are intertwined with ideas about identity and memory. At the same time, the importance of memory in how we shape and make sense of our place in the world that is enhanced through evocative objects such as personal photographic archives (ranging from traditional family albums, to selfies on mobile phones, and beyond) becomes more pronounced in the context of the Anthropocene era in which diverse and unequal global movability (e.g., displacement, border crossing, and migration) has become a defining feature of who we are. Connecting between anthropological studies of border-crossing and migration art, this project explores how in the absence of a photo album, alternative modes of visual archives tell the migrant stories of affective connections to family homeland the past and the present Focusing on specific examples from the burgeoning body of alternative visual artwork by contemporary migration artists in Europe and the US this paper examines how identity and otherness are entangled in an ongoing process of becoming and unraveling as sociocultural norms. Beginning with Appadurai’s observations on how migration of objects precipitates the experience of border crossing this paper looks at how migration art activism empowers modes of resistance to normative exclusionary discourses and current anti-migration practices.
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Asmaz, Aysenur Ceren, and Nizam Orçun Önal. "Exploring Ruth Ju-Shih Li’s Metaphorical Flowers: A journey into the ephemeral." Craft Research 15, no. 2 (September 1, 2024): 319–30. http://dx.doi.org/10.1386/crre_00136_1.
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Art serves as a profound medium for individuals to express their innermost thoughts, experiences and emotions, holding considerable significance for both artists and audiences. It eases the meaningful exploration and communication of personal narratives and sentiments, highlighting the profound expressive capabilities within the realm of art. Taiwanese–Australian artist Ruth Ju-Shih Li presents a profound narrative through her contemporary ceramic art, particularly the captivating Metaphorical Flowers series since 2019. These works, resembling metaphorical self-portraits, encapsulate Li’s spirituality using raw clay. Their ‘ephemeral’ nature, akin to abstract images of astral journeys, reflects the transient nature of human existence from a universal perspective. In contrast to conventional ceramics, Li’s creations strike a delicate balance between intricate detail and inherent transience, crafted from raw, unfired clay. This unique approach challenges traditional notions of permanence in art, with sculptures often beginning to disintegrate during creation and exhibition, offering viewers a transformative experience as they witness the gradual collapse of her installations. Li’s creative process extends beyond individual experiences to encompass the stories of others, allowing common emotions to be filtered through these narratives and transformed into varied forms that resonate with the audience. The narrative style she constructs creates a feeling of depth in the audience, with a form of expression that symbolizes the human life cycle. This evocative portrayal invites viewers to contemplate the transient nature of existence and the cyclical journey of life, adding a profound layer of meaning to her artworks.
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Armstrong-Gibbs, Fiona. "On becoming an organizational autoethnographer." Journal of Organizational Ethnography 8, no. 2 (July 8, 2019): 232–42. http://dx.doi.org/10.1108/joe-11-2017-0058.
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Purpose The purpose of this paper is to explore the process and challenges of applying an autoethnographic research method to a professional doctoral thesis ethics application. It examines the traditional university ethical approval process and if it is appropriate for this evolving qualitative research method within an organizational context. Design/methodology/approach A short introduction to the literature on ethics prefaces an autoethnographic account of the author’s experience as doctor of business administration candidate tackling the application process for ethical approval of primary research. The account is a reflection of the review process and critiques with reference to the existing literature. Findings The majority of the literature relating to ethics has focused on the private, personal and largely evocative accounts of autoethnography. This paper highlights some of the differences and potential for organizational autoethnography and ethical conduct. It highlights the ethical implications of obtaining consent from one’s colleagues, developing and maintaining dependent relationships, risk and reward to one’s own professional reputation and becoming equipped to create both personal and organizational change through a process of reflexivity. Originality/value This paper adds to the discussion about ethical conduct when undertaking new forms of organizational ethnographic research. For those interested or involved in the university institutional ethics review committees and for professional doctoral students who are developing an emancipatory insider research approach.
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Smith, Laura. "The poetics of restoring Glen Canyon: the ‘desert imagination’ of Ellen Meloy and Terry Tempest Williams." cultural geographies 25, no. 4 (April 2, 2018): 603–18. http://dx.doi.org/10.1177/1474474018762813.
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There has been a literary tradition supporting the restoration of Glen Canyon in southern Utah ever since construction began on Glen Canyon Dam in the late 1950s, and the canyons began to disappear behind the rising waters of Lake Powell. While some of Glen Canyon’s literary protagonists put forward a strong political and anarchical refrain for a ‘Glen Canyon restored’, this article considers those writers and texts that instead look to the power of appeals to emotion in defense of the desert. In particular, this article considers the evocative capacity of environmental writing to convey emotional and affective landscapes. This article examines the desert writings of Ellen Meloy and Terry Tempest Williams, and the ways in which they employ rhetoric, myth, story, motifs, metaphor, symbolism, and allegory to speak back to the environmental condition, and the ongoing call to restore Glen Canyon. Meloy’s and Williams’ works present individual testimonies molded by personal engagement, experience, and investigation in the desert – but also contribute to ecological and political discourse in the Glen.
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Au, Christopher. "The Autoethnography of a Teacher Educator." Journal of Autoethnography 5, no. 2 (2024): 143–59. http://dx.doi.org/10.1525/joae.2024.5.2.143.
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I turn to evocative autoethnographic storytelling as a means to experiment with the text of teacher education and re-imagine my role as a professor of education and early childhood literacy. When I feel that the rigidity of rubrics and standards designed to evaluate my students is creating an uncomfortable distance between us, I invite the formation of a literate thirdspace. My stories convey the feeling of being in-between states of authority and imagination, and question the image of the child’s fragility, including my own. As my students respond with their own memories through discussion, commentary, and writing, my autoethnography emerges as more personal and concrete. The inevitable death of my mother collides in my mind with the university’s literacy curriculum as I am teaching it, and I am forced to revisit the absence of friends, and my mentor to cancer. The denial of death as part of our own, and our children’s experience, is challenged by a child’s words at the end of this paper, where I finally learn to accept loss and the painful act of saying goodbye.
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Giardina, Simona, and Antonio G. Spagnolo. "Storie di medici e malati nell’arte e nella letteratura: un approccio narrativo alla Storia della Medicina nelle Facoltà mediche / Stories of doctors and patients in art and literature: a narrative approach to the History of Medicine in the Medical Faculty." Medicina e Morale 66, no. 1 (March 15, 2017): 11–30. http://dx.doi.org/10.4081/mem.2017.473.
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Negli ultimi trent’anni anche nell’ambito della Storia della medicina si è accentuato un approccio narrativo, soprattutto nei Paesi anglosassoni. L’attenzione viene centrata sull’essere umano, sulle relazioni interpersonali, sulla storia individuale piuttosto che su quella collettiva. Tale prospettiva si avvale del contributo privilegiato della scrittura (il romanzo, la poesia, il teatro, le favole, i diari, gli epistolari) e di quello evocativo dell’arte. In primo piano l’esperienza di vita di medici e malati, ma anche di familiari, colta attraverso il processo empatico che l’opera suscita nel lettore/osservatore. La malattia è quindi vista come condizione esistenziale. Lo storico Roy Porter definisce questa prospettiva “the history from below” e ritiene possa essere utile nel ricostruire gli aspetti antropologici della malattia “from the patients’ point of view”. Lo studente di medicina “immergendosi” nelle storie di medici e malati del passato acquisisce la capacità di capire non solo la malattia ma di sentire l’esperienza del malato (empatia). Le storie aiutano a focalizzare ciò che manca o è andato perduto nella pratica medica, stimolano l’introspezione personale perché spingono a riflettere non sulle abilità pratiche (competenza tecnica) ma su se stessi, sulle proprie emozioni. Il linguaggio denotativo non esaurisce tutta la realtà umana perché «la medicina è contemporaneamente scienza naturale e scienza umanistica. Il chiarire e il comprendere sono necessari allo stesso modo» (D. Von Engelhardt). ---------- In the last thirty years a narrative approach has become more noticeable even in the field of the History of Medicine, above all in English speaking countries. Attention is concentrated on the human being, on interpersonal relations, on the history of the individual rather than on the collective body. This narrative approach privileges the individual as a person, rather than the group, a methodology that uses the contributions of literature (the novel, poetry, theatre, fables, diaries, letters) as well as the evocative approach of the arts. In the foreground are the life experiences of doctors and patients, also of close relatives, evinced by the empathic process that a work of art fuels in the reader or observer. Sickness is viewed as an existential condition. The historian, Roy Porter, defines this perspective as ‘the history from below’ and maintains that it can be useful in reconstructing the anthropological aspects of sickness from the patient’s point of view. By emerging himself in the stories of doctors and patients of the past, the medical student acquires the ability to understand not only the sickness but to feel the experience of the patient (empathy). Medical stories help to focalize what is missing or has been lost in medical practice, stimulating personal introspection, because these stories urge reflection not on technical competence but on themselves and on their own emotions. The denotative language does not diminish all human reality because «medicine is contemporaneously natural and humanistic science. Clarifying and understanding are both necessary in the same way» (D. Von Engelhardt).
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Glatigny, Sandra. "Le « silence bruyant » de Corbière." Quêtes littéraires, no. 7 (December 30, 2017): 61–72. http://dx.doi.org/10.31743/ql.158.
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In "Les Amours jaunes", Corbière carries out a paradoxical promotion of silence. In fact, the writing features cacophonous poetics. However, the promotion of noise makes it possible to denounce the dysfunction of language. The deceptive experience of communication reveals a wish to implement another mode of emotional transmission. The poet distorts and mocks the romantic tradition to denounce the tricks of a language which is musical and full of imagery. On a quest to find authenticity, he deploys competing and conflicting semiotic layouts which break the textual unity. Renewing the lyrical pact, that fragmentation opens a vacant space that the reader can take over. A reception which is strengthened by the empathic relation between the subject and its recipient is replaced by a formulation based on the evocative power found outside the text. That is definitely a speech ‘addressed’ to the reader but the emotions go through the perception of silence. The formulation of these emotions is suspended, thus letting us read implicitly the mark of its absence. Often considered “unlyrical”, Corbière finds, in the fragile balance between hubbub and silence, an interval filled with the transmission of personal affects.
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Perillo, Francesco S. "Il "Ciclo del Cossovo" di Milan Rakić." Fabrica Litterarum Polono-Italica, no. 1(7) (April 3, 2024): 1–24. http://dx.doi.org/10.31261/flpi.2024.07.11.
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The essay examines one of the central themes of the work of Milan Rakić, one of the greatest exponents of Serbian Modernism: the cycle of compositions that focus on the history and current affairs of that region, which has always been disputed by Serbs and Albanians. These poems arise from Rakić’s personal experience in Kosovo, still subject to the Ottoman Empire, where he had been sent at the beginning of his diplomatic career. Of the seven poems in the cycle, five sing about the tragic destiny of that land, the cradle of Serbian religiosity; one, Na Gazi Mestanu, associates the taste for historical reenactments of Parnassi’s poetics with the passionate defense and proud exaltation of the Serbian people who in centuries-old relations with their homeland have drawn the stimulus for rebirth; the last, Legacy, the most evocative and vibrant, raises that indissoluble bond with the spiritual richness of the past as a reason for existential comfort. What the love of a woman had not been able to give to the poet is offered to him by the rediscovered communion with the historical consciousness of his own race.
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Pickett, Sarah R. "Fierce Love: Fashioning Becoming a Researcher | Amour féroce : le façonnage d’un chercheur en devenir." Canadian Review of Art Education / Revue canadienne d’éducation artistique 44, no. 1 (December 12, 2017): 85–100. http://dx.doi.org/10.26443/crae.v44i1.37.
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Abstract: This paper explores problematic discourses associated with becoming a researcher in the academy through the arts based research methods of autoethnography and narrative performance. I attempt to enhance awareness and contribute to growing knowledge surrounding the experience of becoming a researcher via fragments of my coming out journey, my experience as a psychotherapist and the evolution of my view of a researcher. Through performance-based frameworks and personal evocative writing toward inquiry I weave specific interactions with theoretical positioning. I highlight the collision of discourses and how both vulnerability and critical reflection paved the way in my becoming a researcher.Key Words: Arts based Research; Education; Researcher Identity Development; Autoethnography; Narrative Performance; Queer; LGBTQ; Microaggressions, CounsellingRésumé : Cet article traite des discours problématiques pour ceux et celles qui accèdent au monde universitaire en devenant des chercheurs par le biais de méthodes de recherche à caractère artistique, dont l’auto-ethnographie et la performance narrative. Je tente de stimuler la prise de conscience et de contribuer à l’expansion des connaissances entourant l’expérience du chercheur par l’entremise de fragments de mon cheminement d’affirmation de mon identité, de mon expérience de psychothérapeute et de l’évolution de ma perception de ce qu’est un chercheur. J’y entrecroise certaines interactions avec le positionnement théorique à l’aide de cadres performantiels et d’écriture personnelle évocatrice. Je mets en évidence la collision entre les discours et la façon dont tant la vulnérabilité que la réflexion critique ont jeté les bases du chercheur en devenir. Mots-clés : recherche artistique ; éducation ; développement de l’identité de chercheur ; auto-ethnographie ; performance narrative ; allosexuel ; LGBQ ; micro-agressions ; counseling
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Howard, Vickie. "(Gas)lighting Their Way to Coercion and Violation in Narcissistic Abuse." Journal of Autoethnography 3, no. 1 (January 1, 2022): 84–102. http://dx.doi.org/10.1525/joae.2022.3.1.84.
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Narcissistic abuse is a hidden form of abuse and remains under-recognized in society and within the helping professions, partly due to victim difficulties in articulating the manipulative behaviors they have experienced. Though research focusing on narcissism is extensive, there is a distinct lack of research into the abusive behaviors individuals with severe narcissistic traits use against others and subsequent victim experiences. With the aim of raising awareness of this form of abuse, the following evocative account utilizes autoethnographic memory work and portrays personal experiences of narcissistic abuse—specifically, gaslighting behavior, pathological dishonesty, and intimate abuse. The autoethnographic methods of this article are aligned with social justice and feminist epistemologies. Suppositions are offered to the reader centered upon trauma, loss, and healing in the context of the author’s personal experiences and inherent values as a mental health nurse and educator. Key reflections regarding the use of memory as method along with procedural, relational, and ethical considerations determine how the autoethnography and its portrayal may have been shaped.
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Silva, Ujeffesson Marques, Rosemeri Scalabrin, and Deise Aparecida Peralta. "Experiências com etnomatemática na escola carlos Marighella: narrativas de um professor." STUDIES IN SOCIAL SCIENCES REVIEW 2, no. 3 (November 29, 2021): 200–219. http://dx.doi.org/10.54018/sssrv2n3-005.
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O presente trabalho é fruto de minha pesquisa desenvolvida ao longo do curso de Especialização em Educação do Campo Agricultura Familiar e Currículo, Instituto Federal do Pará (IFPA), Campus Rural Marabá. A pesquisa teve como objetivo discutir minha experiência como professor de matemática na escola Carlos Marighella, a partir de narrativas constituídas por memórias evocadas, considerando a perspectiva da Etnomatemática. A mesmas foi realizada na Escola M.E.F. Carlos Marighella, localizada no assentamento 26 de março no município de Marabá – Pará. A pesquisa foi desenvolvida a partir de uma experiência desenvolvida com a turma de 4º ano do ensino fundamental, tendo como base o ano letivo de 2019. Esta pesquisa caracteriza-se como autobiográfica, tendo as minhas narrativas como professor de matemática. Como constituição de dados, assim como a memória de experiências pessoais e profissionais como elemento basilar de investigação. Como pressuposto, este estudo estabelece o ideário que memória do narrador (reconstrutiva da significação de suas vivências) e os instrumentos de análise e interpretação do pesquisador são elementos que se imbricam e complementam para melhor compreensão de dimensões da realidade autobiográfica pesquisada, tanto na perspectiva pessoal/social do narrador, como na perspectiva contextual da atuação do professor como produto/produtor de conhecimento sobre ensino de matemática na perspectiva da Etnomatemática. Para tanto tomo como base teórica D’Ambrósio que me ajuda a compreender a Etnomatemática; Knijink que me ajuda a articular educação popular e a Etnomatemática, e Bosi (1979) e Grazzition (2016) que me fundamentam sobre discutir minhas memórias como produção de conhecimentos. Como resultados mostro como fotografias são evocadores de minhas memórias e têm o potencial de me subsidiar na interpretação de minha experiência como professor de matemática. The present work is the result of my research developed during the course of Specialization in Education of the Field, Family Agriculture and Curriculum, Instituto Federal do Pará (IFPA), Campus Rural Marabá. The research aimed at discussing my experience as a mathematics teacher at Carlos Marighella school, from narratives constituted by evoked memories, considering the Ethnomathematics perspective. It was carried out at Escola M.E.F. Carlos Marighella, located in the 26 de Março settlement in the municipality of Marabá - Pará. The research was developed from an experience developed with the 4th grade class of elementary school, based on the 2019 school year. This research is characterized as autobiographical, having my narratives as a mathematics teacher. As data constitution, as well as the memory of personal and professional experiences as the basic element of investigation. As an assumption, this study establishes the idea that the narrator's memory (reconstructive of the meaning of his experiences) and the researcher's instruments of analysis and interpretation are elements that intertwine and complement each other for a better understanding of the dimensions of the autobiographical reality researched, both from the narrator's personal/social perspective and from the contextual perspective of the teacher's performance as a product/producer of knowledge about mathematics teaching from the perspective of Ethnomathematics. To this end, I take as my theoretical basis D'Ambrósio, who helps me to understand Ethnomathematics; Knijink, who helps me to articulate popular education and Ethnomathematics, and Bosi (1979) and Grazzition (2016), who support me in discussing my memories as a production of knowledge. As results I show how photographs are evocative of my memories and have the potential to subsidize me in interpreting my experience as a mathematics teacher.
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Gupta, Sonali, Sandeep Kaur, and Shivakami Rajan. "Be Patient, Don’t Complain (Yet)." Journal of Autoethnography 5, no. 4 (2024): 472–96. http://dx.doi.org/10.1525/joae.2024.5.4.472.
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Ever been confused about how to react when someone says they are doing something for your own good but you know oh-so-clearly that there is nothing good in it for you? Do you call them out for their misplaced benevolence? Or do you just acquiesce and come across as condoning their behavior? Both these options come with consequences, and costs. What should one do? This is a common dilemma for those subjected to benevolent sexism—a seemingly positive form of sexism that nevertheless undermines gender equity and is often hard to recognize and deal with. This article delves into the depths of this dilemma and is based on an autoethnographical account of one of the author’s experiences with benevolent sexism. The core narrative, originally written in the immediate aftermath of a significant incident, offers a deep dive into the protagonist’s mind as she navigates the decision to seek support politely rather than express outrage at the sexist behavior she encountered. Her narrative serves as the foundation for an abductive investigation, where the protagonist, in collaboration with her co-authors, undertakes a review of extant literature to make sense of her response. Together, they employ introspection and reflexivity to alternate between data and literature, bridging the gap between personal experience and scholarly analysis, and transforming the evocative account into a comprehensive examination of the pervasive social phenomenon of sexism within organizational contexts. Using an abductive, iterative process to interweave theory with an autoethnographical narrative, the article tries to resolve the dichotomy between confronting and condoning, often seen as the only responses to sexism, by proposing an approach that balances the interpersonal and intrapersonal costs and benefits of confrontation.
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Rasmus, Agnieszka. "What bloody film is this? "Macbeth" for our time." Multicultural Shakespeare: Translation, Appropriation and Performance 18, no. 33 (December 30, 2018): 115–28. http://dx.doi.org/10.18778/2083-8530.18.08.
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When Roman Polanski’s Macbeth hit the screens in 1971, its bloody imagery, pessimism, violence and nudity were often perceived as excessive or at least highly controversial. While the film was initially analysed mostly in relation to Polanski’s personal life, his past as a WWII child survivor and the husband of the murdered pregnant wife, Sharon Tate, in retrospect its bleak imagery speaks not only for his unique personal experience but also serves as a powerful comment on the American malaise, fears and paranoia that were triggered, amongst other things, by the brutal act of the Manson Family. We had to wait forty four years for another mainstream adaptation of the play and it is tempting not only to compare Kurzel’s Macbeth to its predecessor in terms of how more accepting we have become of graphic depictions of violence on screen but also to ask a more fundamental question: if in future years we were to historicise the new version, what would it tell us about the present moment? The paper proposes that despite its medieval setting and Scottish scenery, the film’s visual code seems to transgress any specific time or place. Imbued in mist, its location becomes more fluid and evocative of any barren and sterile landscape that we have come to associate with war. Seen against a larger backdrop of the current political climate with its growing nationalism and radicalism spanning from the Middle East, through Europe to the US, Kurzel’s Macbeth with its numerous bold textual interventions and powerful mise-en-scène offers a valid response to the current political crisis. His ultra brutal imagery and the portrayal of children echo Polanski’s final assertion of perpetuating violence, only this time, tragically and more pessimistically, with children as not only the victims of war but also its active players.
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Chaves, Rui, and Pedro Rebelo. "Evocative Listening: Mediated practices in everyday life." Organised Sound 17, no. 3 (January 11, 2012): 216–22. http://dx.doi.org/10.1017/s1355771811000410.
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The history of sonic arts is charged with transgressive practices that seek to expose the social, aural and cultural thresholds across various listening experiences, posing new questions in terms of the dialogue between listener and place. Recent work in sonic art exposes the need for an experiential understanding of listening that foregrounds the use of new personal technologies, environmental philosophy and the subject–object relationship. This paper aims to create a vocabulary that better contextualises recent installations and performances produced within the context of everyday life, by researchers and artists at the Sonic Arts Research Centre at Queen's University Belfast.
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Borzenko, Olexander. "Album poetry and early poetry by Lesya Ukrainka." 89, no. 89 (December 13, 2021): 9–14. http://dx.doi.org/10.26565/2227-1864-2021-89-01.
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The article considers the influence of the album tradition on the early work of Lesya Ukrainka: the disclosure of the features of this influence is the main purpose of this investigation. Landscape poetry is characterized by cordiality, simplicity and sincerity, usually consistent with some real or hypothetical everyday situation. Album work has its own characteristics, among which the most common are the simplicity of images, private themes, sentimentality and didactics. Ukrainian album lyrics maintained a close connection with folk art, in particular with the song. Hence the widespread use of permanent images of folklore origin and stylistic clichés, their repetition in different variations. During her literary growth, Lesya Ukrainka actively used the artistic experience of album lyrics. She was most interested in the thematic complex of youth: growing up, personal formation and self-awareness, expanding ideas about people and the world. The poetess revealed the topic of love popular in women's albums in general stereotypically - as a drama of sincere but undivided feelings. Her lyrical heroine cultivates faith in life and hope in spite of unfavorable fate. In the poetic expression of the author in the early period of her work was very attracted to the vivid imagery, pathos and a certain melodramatics, in part this led to the presence in her poetry of emphasized picturesqueness, evocative intonations, demonstrative emotions. At the same time, in some of Lesya Ukrainka's early works there is a noticeable readiness to partially rethink the expressive possibilities of the album tradition by searching for complications and combining them with other sources. In the process of interaction with the album experience, gradually, more and more fully, from work to work, the independent creative profile of the young author was expressed.
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Zelkovitz, Bruce M. "An Evocation of Place: Place: Experience and Symbol." Anthropology Humanism Quarterly 12, no. 1 (February 1987): 25. http://dx.doi.org/10.1525/ahu.1987.12.1.25.1.
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Moore, Frances, and Peter Gouzouasis. "An Early Childhood Educator’s Learning Story in the Time of COVID." LEARNing Landscapes 17, no. 1 (July 2, 2024): 259–74. http://dx.doi.org/10.36510/learnland.v17i1.1131.
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While it began with a variety of narrative representations of writing personal experiences, since Ellis (2004; Bochner & Ellis, 2016), evocative, performative, and creative nonfiction forms of storying have coalesced to form contemporary autoethnography. For over a decade, Canadian arts education researchers have blazed trails to employ those forms of autoethnography as “learning stories” (Carr, 2001; Carr & Lee, 2012) to study teaching and learning practices in a variety of school and community educational contexts. Learning stories enable educators to reveal teaching and learning experiences that cannot be represented by, or communicated through, other research forms. The present inquiry, which begins with the story of an early childhood educator, is rooted in the fusion of evocative autoethnography and learning stories with arts-based research, particularly a/r/tography.
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Okamuro, Minako. "Beckett, Yeats, and Noh: as Theatre of Evocation." Samuel Beckett Today / Aujourd'hui 21, no. 1 (February 1, 2010): 165–77. http://dx.doi.org/10.1163/18757405-021001012.
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In , the ritualistic movements of M1 culminate in his conjuring of a woman who quotes from “The Tower,” the poem in which W. B. Yeats, who was profoundly influenced by Japanese noh theatre, evokes a number of ghosts. In this study, I demonstrate that Beckett was influenced in his writing of both by the highly stylised noh – the noh of dreams and phantoms – and Yeats's experience of noh.
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Seabrook, Jeremy. "The age of the incendiarist." Race & Class 61, no. 3 (November 25, 2019): 92–98. http://dx.doi.org/10.1177/0306396819889573.
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In an evocative polemic the author traces the ways in which man-made fire, ‘incendiarism against creation’, has marked the planet in the last century. Starting with the burning Amazon forests but taking in Grenfell, he looks back to personal experiences of war-time bombing, knowledge of Hiroshima, Vietnam and Star Wars. As the Cold War ended, human detonation became the new risk. Prosperity, which should have provided a shield, has, instead, engulfed the whole world in new combustions.