1,720,962 research outputs found
Epistemological Groundings
No full text “Epistemological Groundings: Searchin’ for the Words” is an explorative journey toward mapping, understanding, and staking the authors ways of knowing. Taking up the charge, as Madison (2005), outlays to start where you are, and answer the deeply personal, spiritual, and political questions of (a) Who are you? and (b) What work do you need to do to feed your soul? The author through a series of short poems/thoughts seeks to make sense of the research process—theory, method/ology, and epistemology. Honoring his own personal history, knowledge, and the communities to which he ascribes and has an affinity for, “Epistemological Groundings” purports that not only should our research be grounded in a living practice but also this application should be socially just, life giving, and sustaining. </jats:p
Longing to be Langston
No full text This article is an autoethnodrama, which originally began as a workshop piece coming to fruition as an enacted staged reading at the University of Illinois during Fall 2011. As an ethnodrama, the article explores the author’s educational journey, pivoting around one of his fondest childhood memories reciting a Langston Hughes poem. Interwoven throughout the piece are other notable local, and global events, which occurred throughout the author’s life. Memories of reciting Langston Hughes, and his poem “Mother to Son” act as a fulcrum, moving the text from the “I” singular to the “I” universal/plural. Utilizing the methodology of autoethnodrama and other performative based methods—inclusive of but not limited to poetry, framing, and dialogue—the article reimagines and recovers the individuals’ relationship to him or herself, his or her community, and to the society at large. Through acknowledging and facing trauma, the article offers for both its author and the reader a chance for recovery through restoring healing and the wholeness of the individual, amending minority absences from educational practices, and envisioning a more just society. </jats:p
Gendered Violences and Queer of Color Critiques in Educational Spaces: Remembering Sakia, Carl, and Jaheem
No full textStill, nobody mean more: Engaging black feminist pedagogies on questions of the citizen and human in anti-Blackqueer times
No full textGendered Violences and Queer of Color Critiques in Educational Spaces: Remembering Sakia, Carl, and Jaheem
No full text
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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