Framer Framed

Minh‐ha, Trinh T.

doi:10.4324/9780203699416

Cited by 7 publications

(9 citation statements)

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“…Hence, these photographs will have, and have had, many meanings across time and generations. One of the aims of including photographs, and thereby providing a multi-dimensional image of the women represented in this study, is to generate resonance in the representation of the material (Minh-ha, 1992: 210). Moreover, it is an attempt to contextualize the abstract and linear narrative of print.…”

Section: A Multi-methodological Approachmentioning

confidence: 99%

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Feminist Genealogical Methodologies

Keary

2012

Feminist Theology

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This paper describes the multi-methodological approach employed in a partial, situated, contingent and interpretive feminist political analysis of Catholic mothers and daughters. The study draws on a number of sources including transcripts of mother-daughter interviews, autobiographical anecdotes, photographs, music, icons of Catholicism and poetry. It is argued in this paper that a feminist multi-methodological approach is valuable to feminist research as it disrupts the linear and logocentric construct of traditional social science research. Moreover, a multi-methodological and multi-sourced approach opens up sites so that the mothers and daughters in this study could be positioned within specific histories and contexts, and provided with a space so that as women they could reconstruct themselves as self-referential subjects.

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Section: A Multi-methodological Approachmentioning

confidence: 99%

“…For example, excerpts of the study were read and commented upon by a few women who therefore, helped to re-frame the narratives. At times this led the research into a ‘ “catharsis”...the place where the diverse fictions of representation and self-representation come together’ (Minh-ha, 1992: 194).…”

Section: Research Considerationsmentioning

confidence: 99%

Feminist Genealogical Methodologies

Keary

2012

Feminist Theology

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“…Adopting a multi-methodological perspective, then, is often a process in which one becomes both an “insider” and an “outsider,” taking on a multitude of different standpoints and negotiating these identities simultaneously. Being an Insider and an Outsider—This is aptly expressed by Trinh T. Minh-ha’s (1992) concept of multiple subjectivities:Working right at the limits of several categories and approaches means that one is neither entirely inside or outside. One has to push one’s work as far as one can go: to the borderlines, where one never stops walking on the edges, incurring constantly the risk of falling off one side or the other side of the limit while undoing, redoing, modifying this limit.…”

Section: Parting Thoughts: the Importance Of Promoting Cross-disciplimentioning

confidence: 99%

Mixed Methods Research

Hesse‐Biber

2015

Qual Health Res

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Contemporary mixed methods research (MMR) veers away from a "loosely bounded" to a "bounded" concept that has important negative implications for how qualitatively driven mixed methods approaches are positioned in the field of mixed methods and overall innovation in the praxis of MMR. I deploy the concept of reification defined as taking an object/abstraction and treating it as if it were real such that it takes on the quality of "thing-ness," having a concrete independent existence. I argue that the contemporary reification of mixed methods as a "thing" is fueled by three interrelated factors: (a) the growing formalization of mixed methods as design, (b) the unexamined belief in the "synergy" of mixed methods and, (c) the deployment of a "practical pragmatism" as the "philosophical partner" for mixed methods inquiry.

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“…With an emphasis on "the data doing the talking" (Mienczakowski & Moore, 2008, p. 452), "realistic" or "authentic" representations of the research findings are encouraged. In addition, the artistresearcher and/or arts-based researcher 1 is understood as removed from the process rather than one who creates or "invents" (Clifford, 1986;Denzin, 2003;Freire, 2007;Goldstein, 2012;Jackson, 2007;Minh-Ha, 1992). The artistresearcher and/or arts-based researcher is obligated to use the performance as a way to present minimally altered research findings.…”

Section: Introductionmentioning

confidence: 99%

An Aesthetic of Relationality: Embodiment, Imagination, and the Necessity of Playing the Fool in Research-Informed Theater

Gray

Kontos

2017

Qualitative Inquiry

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Research-informed theater is often informed by an assumed linear trajectory between research findings and performance, overlooking the multiple embodied perspectives that are implicated in the development of research-informed theater. To challenge this assumption, we explore how artist-researchers draw on their own embodiment and imagination as ways to understand the research findings, how they conceptualize the intended audience, and how those understandings shape the creative process of the research-informed play. Using the case study of the research-informed play Cracked: New Light on Dementia, we focus on three interrelated modes of practice: playful extending, foolish disrupting, and inventive disrupting. We argue that these modes of practice create an aesthetic of relationality, what we define as an aesthetic space within which the embodied interpretive work of artist-researchers is extended into spatial, relational contexts. We discuss implications of this theoretical framework for a new critical inquiry.

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Framer Framed

Cited by 7 publications

References 0 publications

Feminist Genealogical Methodologies

Feminist Genealogical Methodologies

Mixed Methods Research

An Aesthetic of Relationality: Embodiment, Imagination, and the Necessity of Playing the Fool in Research-Informed Theater

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