In this article, we discuss issues that are rarely (if ever) talked about in research: experiences of deep insight and inspiration, of meaning-making, of embodied passion and of excitement related to the practice of engaging in qualitative research and of being a qualitative researcher. These are the ‘aha’ moments or ‘eureka’ experiences. Drawing on Frigga Haug’s collective memory work, five individual memories were articulated as text and analysed collectively over a period of six months. By analytically deploying the concept of generativity, we portray the tensions, dynamics and interactions that (co)create aha moments and movements as a way of enacting situated research(er) agency and of challenging the neoliberal instrumentalization of research and researchers. Our aim is to contribute to visualizing and fostering small but powerful steps in innovative, good quality research and bringing desire and passion (back) into research practice.

What are the possibilities and/or limitations for becoming subjects differenciated from previous categorizations, such as "troublemaker", to which certain students are subjected? This is the question analyzed in this paper, based on observations of, and narratives and perspectives of, two 15-year-old ethnic minority boys at a school in Denmark. Drawing on the work of Deleuze and Guattari and their concepts of "smooth" and "striated" spaces, I explore spaces where energies are mobilized through ongoing generated and created relations, and how spaces where this does not seem possible, tend to trap and thereby limit the person being categorized. Through the analyses, I will show how repetitive, limiting categorizations in and over time tend to "stick" to the boys being categorized, and how the sticky categorizations obstruct their future possibilities for change and viable lives within the school.

No abstract

No abstract

Hvordan går det til, at Mounir, der ad flere omgange har været udsluset til specialtilbud og har hængt på gaden i fællesskaber, hvor det at hærge biler og lave hærværk var noget, der gav credit, i dag er i gang med at færdiggøre 3. g som en af de bedste i sin klasse? Er det Mounir, der er gjort af et særligt mønsterbryder-“stof”? Skyldes det hans forældre, der altid har opmuntret og støttet Mounir til at tage en uddannelse? Er det på grund af måden, Mounir klæder sig på? Eller er det snarere på grund af forskellige støttende lærere, både i folkeskolen og i specialtilbuddene dengang i 1.-2. og igen i  6.-7. klasse? Indeværende artikel foreslår med Mounirs egen metafor om gamet, hvordan dette game kan forstås som et sammensurium af mange forskellige kræfter. Analyserne peger på nogle af de kræfter, der blander sig og væver sig ind i hinanden, og på hvordan disse kan forstås som medproducerende for Mounirs særlige og forandrende tilblivelsesprocesser.