This collection explores how autoethnography is made. Contributors reflect on the processes they engage in as they craft their autoethnographic artefacts. Each chapter explores a different material or media, together creating a rich and stimulating set of demonstrations, with focus on the practical accomplishment of texts/artefacts.
This collection explores how autoethnography is made. Contributors reflect on the processes they engage in as they craft their autoethnographic artefacts. Each chapter explores a different material or media, together creating a rich and stimulating set of demonstrations, with focus on the practical accomplishment of texts/artefacts.
Jackie Goode is a Visiting Fellow in Qualitative Research in the School of Social Sciences and Humanities, Loughborough University, UK. Karen Lumsden is a Lecturer in Sociology at the University of Aberdeen, UK. Jan Bradford completed her PhD at the University of Edinburgh, UK, and is an independent researcher.
Inhaltsangabe
Introduction; Section I: This Writing Life 1. Shoring Up the Fragments 2. When the Slave Ships Came; Section II: Making a Drama Out of It Chapter 3. Reflections and Confessions on the Making of a Performative Autoethnography: University Professional Development Reviews and the Academic Self 4. Mi amigo Giovanni: A Digital Engagement of Friendship, Community and Queer Love Through a Zoom Performance; Section III: Crafting Selves 5. Thinking with our Hands while Becoming Autoethnographers 6. Putting Ourselves in the Picture: An Autoethnographic Approach to Photography Criticism 7. Digital Autoethnography: An Approach to Facilitate Reflective Practice in the Making and Performing of Visual Art 8. Stitching as Reflection and Resistance: The Use of a Stitch Journal During Doctoral Study 9. Making The Dreamer: Cut-ups, Découpage and Narrative Assemblages of Interbeing and Becoming; Section IV: Creating Class 10. Hidden Time: An Autoethnographical Narrative on the Creation of Seven Working-Class Time Pieces 11: Coming Back to Class: The Remaking of an Academic Self; Section V: Place and Belonging 12. Walking as Knowing, Healing, and the (Re)making of Self 13. Where the River Flows Out to the Sea: A Story of Place-Making 14. Making Mistakes: Learning Through Embarrassment when Curating Indigenous Collections in UK Museums; Conclusion
Introduction; Section I: This Writing Life 1. Shoring Up the Fragments 2. When the Slave Ships Came; Section II: Making a Drama Out of It Chapter 3. Reflections and Confessions on the Making of a Performative Autoethnography: University Professional Development Reviews and the Academic Self 4. Mi amigo Giovanni: A Digital Engagement of Friendship, Community and Queer Love Through a Zoom Performance; Section III: Crafting Selves 5. Thinking with our Hands while Becoming Autoethnographers 6. Putting Ourselves in the Picture: An Autoethnographic Approach to Photography Criticism 7. Digital Autoethnography: An Approach to Facilitate Reflective Practice in the Making and Performing of Visual Art 8. Stitching as Reflection and Resistance: The Use of a Stitch Journal During Doctoral Study 9. Making The Dreamer: Cut-ups, Découpage and Narrative Assemblages of Interbeing and Becoming; Section IV: Creating Class 10. Hidden Time: An Autoethnographical Narrative on the Creation of Seven Working-Class Time Pieces 11: Coming Back to Class: The Remaking of an Academic Self; Section V: Place and Belonging 12. Walking as Knowing, Healing, and the (Re)making of Self 13. Where the River Flows Out to the Sea: A Story of Place-Making 14. Making Mistakes: Learning Through Embarrassment when Curating Indigenous Collections in UK Museums; Conclusion
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