Dialogue on oral poetry

Mammeri, Mouloud; Bourdieu, Pierre

doi:10.1177/1466138104048827

Cited by 5 publications

(1 citation statement)

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“…First, when using poetic allusion qualitative researchers have referenced published poetry to connect their work to the larger literary body in the same way writers might allude to other forms of literature such as songs, works of fiction, religious writings, and plays (e.g., see the opening quotes to this article; Denzin, 2003;Markula, 2006). Second, when conducting cultural poetry research anthropologists have studied how cultures naturally use poetry (e.g., Mammeri & Bourdieu, 2004). Third, participant poetry as data consists of poetry collected or solicited by researchers from their participants and treated as data (e.g., Lather & Smithies, 1997).…”

Section: Literature Reviewmentioning

confidence: 99%

Poking Around Poetically: Research, Poetry, and Trustworthiness

Lahman

Geist

Rodriguez

et al. 2009

Qualitative Inquiry

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In this article, the authors examined the current use of poetry in qualitative research. The literature yielded the following purposes of poetry: poetic allusions, cultural poetry research, participants’ poetry as data, data poems, research experience poems or poems from the field, and autoethnographic poetry.The authors drew on the experiences from a research poetry group, a reflexive circular e-mail, and research poems they authored. The authors deconstructed the reflexive circular e-mail for future possibilities as a data collection method and explored the following tensions: representation of research, research poets’ training and experience, explanation or interpretation, and trustworthiness. The authors composed Poetic Interludes throughout the article as a way of poking around at, with, and through poetry.

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Section: Literature Reviewmentioning

confidence: 99%

Poking Around Poetically: Research, Poetry, and Trustworthiness

Lahman

Geist

Rodriguez

et al. 2009

Qualitative Inquiry

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Portrait of the Artist as a Non-Artist. Matryoshka Roles and the Heteronomization of the Italian Art Field

Sabetta

2024

Qual Sociol

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This paper examines how Italian visual artists are now structurally encouraged to be proficient in performing activities unrelated to field-specific criteria, or – to use the words of one respondent – why they are supposed to “be good at being incredibly good at doing stuff they don’t know how to do.” Drawing on qualitative data (N = 135), four dimensions of unartistic yet binding concerns are explored: networking relationality, bureaucratic “callification,” systemic politics, and outward visibility. To analyze this dynamic, the concept of “Matryoshka roles” is introduced. Although uncharacteristic of artists’ work and nested inside its surface depiction (Matryoshka), each dimension entails a set of injunctions and sanctioned behavior (roles) that reconfigure the reality of contemporary visual artists and vitiate the separation between internal vs. external principles of hierarchization. Reflecting on the autonomy of the field of visual art as a transitory historical phase, mechanisms of fields’ heteronomization are addressed. By considering a series of factors (e.g., differences among early- and late-career artists, presence on social media, perception of heteronomous practices, most distinctive accomplishments, career junctions), the increasing pressure of meta-fields of economics, power, and state is detailed.

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The Roots of Insurrection: The Role of the Algerian Village Assembly (Djemâa) in Peasant Resistance, 1863–1962

MacMaster

2013

Comp Stud Soc Hist

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Interpretations of the origins of the Algerian war of independence have tended to emphasize either discontinuity—the radical dislocation of precolonial social and political structures following the French conquest—or the continuity of a culture of peasant resistance between 1871 and 1954. Little investigation has been carried out into the latter, or how, if at all, socio-political institutions enabled rural society to sustain an unbroken “tradition” of resistance over nearly a century of unprecedented crisis. Most debate has focused on the role of the tribe, a largely moribund institution, and this has obscured the importance of the village assembly, or djemâa, a micro-level organization that historians have largely neglected. The djemâa, in both its official and covert forms, enabled village elders to regulate the internal affairs of the community, such as land disputes, as well as to present a unified face against external threats. This article shows how emerging nationalist movements starting in the 1920s penetrated isolated rural communities by adapting to the preexisting structure of the djemâa, a tactic that was also followed after 1954 as independence fighters established a guerrilla support base among the mountain peasants. While Pierre Bourdieu and other scholars have emphasized the devastating impacts that economic individualism had on peasant communalism, this study employs the djemâa as a case study of a “traditional” institution that proved flexible and enduring as rural society confronted settler land appropriations and a savage war of decolonization.

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Dialogue on oral poetry

Cited by 5 publications

References 1 publication

Poking Around Poetically: Research, Poetry, and Trustworthiness

Poking Around Poetically: Research, Poetry, and Trustworthiness

Portrait of the Artist as a Non-Artist. Matryoshka Roles and the Heteronomization of the Italian Art Field

The Roots of Insurrection: The Role of the Algerian Village Assembly (Djemâa) in Peasant Resistance, 1863–1962

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