Family Stories Poetry And Women S Work

"This book is a memoir in poetry about family stories, mother-daughter relationships, women’s work, mothering, writing, family secrets, and patterns of communication in close relationships. Faulkner knits connections between a DIY (do-it-yourself) value, economics, and family culture through the use of poems and images, which present four generations of women in her family and trouble “women’s work” of mothering, cooking and crafting. Family stories anchor family culture and provide insight into relational and family life. This work may be used as a teaching tool to get us to think about the stories that we tell and don’t tell in families and the importance of how family is created, maintained, and altered in our stories. The poetry voices the themes of economic and collective family self-reliance and speaks to cultural discourses of feminist resistance and resilience, relational and personal identities. This book can be read for pleasure as a collection of poetry or used as a springboard for reflection and discussion in courses such as family communication, sociology of gender and the family, psychology of women, relational communication, and women’s studies. “Sandra’s innovative arts-based social science text demystifies poetic inquiry, providing readers both an embodied example of excellence and detailed exercises for use when practicing one’s own craft.” – Elizabeth A. Suter, University of Denver “Through this book, Faulkner presents a refreshing way of understanding, researching, and teaching about the communication in families.” – Pamela J. Lannutti, La Salle University “Faulkner takes readers into the personal lives of four generations of mothers and daughters, poetically uncovering concrete aspects of social processes of family, motherhood, relationships, and writing. A fusion of social science and art that invites engagement of all your senses to understand the felt truth of lived experience.” – Carolyn Ellis, University of South Florida “Captivating, nuanced, and often surprising, Faulkner’s work is a vital contribution that bridges the chasm between traditional interpersonal communication research and brave new artistic worlds for relationship studies.” Jimmie Manning, Northern Illinois University Social Fictions Series International Editorial Advisory Board Carl Bagley, University of Durham, UK Anna Banks, University of Idaho, USA Carolyn Ellis, University of South Florida, USA Rita Irwin, University of British Columbia, Canada J. Gary Knowles, University of Toronto, Canada Laurel Richardson, The Ohio State University (Emeritus), USA Sandra L. Faulkner is Associate Professor of Communication and Director of Women’s, Gender and Sexuality Studies at BGSU. Her teaching and research interests include qualitative methodology, poetic inquiry, and sexuality in close relationships. Left Coast Press published her books Poetry as Method: Reporting Research through Verse and Inside Relationships: A Creative Casebook on Relational Communication. Her poetry appears in places such as Qualitative Inquiry, Women & Language, Storm Cellar, Literary Mama, and Sugar House Review, and her chapbook, Hello Kitty Goes to College, was published by dancing girl press. She lives in NW Ohio with her partner, their warrior girl, and a rescue mutt. "

Acclaimed poet Nilofar Shidmehr’s debut story collection is an unflinching look at the lives of women in post-revolutionary Iran and the contemporary diaspora in Canada. The stories begin in 1978, the year before the Iranian Revolution. In a neighbourhood in Tehran, a group of affluent girls play a Cinderella game with unexpected consequences. In the mid 1980s, women help their husbands and brothers survive war and political upheaval. In the early 1990s in Vancouver, Canada, a single-mother refugee is harassed by the men she meets on a telephone dating platform. And in 2003, a Canadian woman working for an international aid organization is dispatched to her hometown of Bam to assist in the wake of a devastating earthquake. At once powerful and profound, Divided Loyalties depicts the rich lives of Iranian women and girls in post-revolutionary Iran and the contemporary diaspora in Canada; the enduring complexity of the expectations forced upon them; and the resilience of a community experiencing the turmoil of war, revolution, and migration.

The Oxford Handbook of Qualitative Research, Second Edition presents a comprehensive, interdisciplinary overview of the field of qualitative research. Divided into eight parts, the forty chapters address key topics in the field such as approaches to qualitative research (philosophical perspectives), narrative inquiry, field research, and interview methods, text, arts-based, and internet methods, analysis and interpretation of findings, and representation and evaluation. The handbook is intended for students of all levels, faculty, and researchers across the disciplines, and the contributors represent some of the most influential and innovative researchers as well as emerging scholars. This handbook provides a broad introduction to the field of qualitative research to those with little to no background in the subject, while providing substantive contributions to the field that will be of interest to even the most experienced researchers. It serves as a user-friendly teaching tool suitable for a range of undergraduate or graduate courses, as well as individuals working on their thesis or other research projects. With a focus on methodological instruction, the incorporation of real-world examples and practical applications, and ample coverage of writing and representation, this volume offers everything readers need to undertake their own qualitative studies.

Witness, I Am is divided into three gripping sections of new poetry from one of Canada’s most recognized poets. The first part of the book, “Dangerous Sound,” contains contemporary themed poems about identity and belonging, undone and rendered into modern sound poetry. “Muskrat Woman,” the middle part of the book, is a breathtaking epic poem that considers the issue of missing and murdered indigenous women through the reimagining and retelling of a sacred Cree creation story. The final section of the book, “Ghost Dance,” raids the autobiographical so often found in Scofield’s poetry, weaving the personal and universal into a tapestry of sharp poetic luminosity. From “Killer,” Scofield eerily slices the dreadful in with the exquisite: “I could, this day of proficient blooms, / take your fingers, / tie them down one by one. This one for the runaway, / this one for the joker, / this one for the sass-talker, / this one for the judge, / this one for the jury. / Oh, I could kill you.”

Real Women Run is an innovative feminist ethnography that consists of a series of linked essays and presentations about women who run at the intersections of queer, feminist, and running identities. Faulkner uses feminist grounded theory, poetic inquiry, and qualitative content analysis to examine women’s embodied stories of running: how they run, how running fits into the context of their lives and relationships, how they enact or challenge cultural scripts of women’s activities and normative running bodies, and what running means for their lives and identities. During a two-and-a-half-year ethnography with women who run, Faulkner engaged in an intersectional qualitative content analysis of websites and blogs targeted to women runners, a grounded theory poetic analysis of 41 interviews with women who run, and participant observation at road races. Real Women Run speaks to the call for a more physical feminism. This ethnography sees women’s physical and mental strength developed through running as a way to embrace the contradictions between a deconstructed focus on the mind/body split and the focus on individuals’ actual material bodies and their everyday interactions with their bodies and through their bodies with the world around them.

This edited collection brings together a series of conceptual explorations and practical case studies to illuminate a developing innovative praxis of transdisciplinary peace and education. Drawing on the work of the Cambridge Peace and Education Research Group as well as international scholars, this book responds to calls for transdisciplinary peace and education praxis and presents innovative examples of peace and education research practices, peace interventions in educational settings, and alternative ontologies in peace and education work. Foregrounding the concept of ‘second-order reflexivity’, the book prioritises the lived experiences and viewpoints of struggling populations regarding the worth of ‘peace’ as grounded within their contexts. Ultimately, this book showcases how the practices of peace education and research can challenge the binaries of modern and postmodern approaches and provide examples of holistic transdisciplinary approaches that embrace complexity and criticality. Contributing new knowledge to peace and education, this volume will be of great interest to academics, post-graduate students and researchers in the field of peace education, peace studies and development studies. The Introduction of this book is available for free in PDF format as Open Access from the individual product page at www.taylorfrancis.com. It has been made available under a Creative Commons Attribution 4.0 International license. Funded by the Gates Foundation. The Afterword of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license. Funded by the Georg-Eckert-Institute.

This book is a manifesto. It is about rethinking performance autoethnography, about the formation of a critical performative cultural politics, about what happens when everything is already performative, when the dividing line between performativity and performance disappears. This is a book about the writing called autoethnography. It is also about what this form of writing means for writers who want to perform work that leads to social justice. Denzin’s goal is to take the reader through the history, major terms, forms, criticisms and issues confronting performance autoethnography and critical interpretive. To that end many of the chapters are written as performance texts, as ethnodramas. A single thesis organizes this book: the performance turn has been taken in the human disciplines and it must be taken seriously. Multiple informative performance models are discussed: Goffman’s dramaturgy; Turner’s performance anthropology; performance ethnographies by A. D. Smith, Conquergood, and Madison; Saldana’s ethnodramas; Schechter’s social theatre; Norris’s playacting; Boal’s theatre of the oppressed; and Freire’s pedagogies of the oppressed. They represent different ways of staging and hence performing ethnography, resistance and critical pedagogy. They represent different ways of "imagining, and inventing and hence performing alternative imaginaries, alternative counter-performances to war, violence, and the globalized corporate empire" (Schechner 2015). This book provides a systematic treatment of the origins, goals, concepts, genres, methods, aesthetics, ethics and truth conditions of critical performance autoethnography. Denzin uses the performance text as a vehicle for taking up the hard questions about reading, writing, performing and doing critical work that makes a difference.

Features productive (re)interpretations of 21st century experience using the lens of Dewey’s Art as Experience, through putting an array of international philosophers, educators, and artists-researchers in transactional dialogue and on equal footing in an academic text.