Pub Date : 2021-03-01DOI: 10.1525/DCQR.2021.10.1.146
J. Simmons
In her lifetime, US American painter Georgia O’Keeffe (1887–1986) wrote thousands of letters to those closest to her. However, she relied on painting as her primary public voice. This essay takes the form of five letters, composed through posthumanist performative writing,1 addressed to O’Keeffe. I work through the process of experiencing the death of my father in a material landscape as it was painted by O’Keeffe. The southwestern landscapes O’Keeffe painted were the same landscapes in which my father and I negotiated material relations to live a life of what Donna Haraway calls “significant otherness.”2
美国画家乔治亚·奥基夫(Georgia O 'Keeffe, 1887-1986)一生中给最亲近的人写了数千封信。然而，她依靠绘画作为她主要的公众声音。这篇文章采用了五封信的形式，通过后人文主义的表演写作，我写给奥基夫。我在奥基夫画的物质景观中经历了父亲的死亡。奥基夫画的西南风景画和我父亲和我协商物质关系，过着唐娜·哈拉威所说的“重要的他者”生活的风景画是一样的
{"title":"Five Letters to Georgia O’Keeffe","authors":"J. Simmons","doi":"10.1525/DCQR.2021.10.1.146","DOIUrl":"https://doi.org/10.1525/DCQR.2021.10.1.146","url":null,"abstract":"In her lifetime, US American painter Georgia O’Keeffe (1887–1986) wrote thousands of letters to those closest to her. However, she relied on painting as her primary public voice. This essay takes the form of five letters, composed through posthumanist performative writing,1 addressed to O’Keeffe. I work through the process of experiencing the death of my father in a material landscape as it was painted by O’Keeffe. The southwestern landscapes O’Keeffe painted were the same landscapes in which my father and I negotiated material relations to live a life of what Donna Haraway calls “significant otherness.”2","PeriodicalId":36478,"journal":{"name":"Departures in Critical Qualitative Research","volume":"283 1","pages":"146-154"},"PeriodicalIF":0.3,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80216757","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.1525/dcqr.2021.10.2.81
Alisha L. Menzies
This essay is an autoethnographic account of the ways Black cultural performance, specifically Black social dance, works to produce and maintain Black cultural space in predominantly white spaces. I consider the significance of the “City Boy Wit It” song and dance as an expression of Black identity that marks Blackness in Tampa, FL. By framing my personal experiences through a discussion of Black identity and Black space, I critically examine larger issues of Black performativity and Black cultural spaces.
这篇文章是一篇关于黑人文化表演，特别是黑人交际舞，如何在白人占主导地位的空间中产生和维持黑人文化空间的自我民族志。我认为“City Boy Wit It”歌曲和舞蹈的意义在于表达黑人身份，标志着佛罗里达州坦帕市的黑人身份。通过讨论黑人身份和黑人空间来构建我的个人经历，我批判性地审视了黑人表演和黑人文化空间的更大问题。
{"title":"Spaces and Places","authors":"Alisha L. Menzies","doi":"10.1525/dcqr.2021.10.2.81","DOIUrl":"https://doi.org/10.1525/dcqr.2021.10.2.81","url":null,"abstract":"This essay is an autoethnographic account of the ways Black cultural performance, specifically Black social dance, works to produce and maintain Black cultural space in predominantly white spaces. I consider the significance of the “City Boy Wit It” song and dance as an expression of Black identity that marks Blackness in Tampa, FL. By framing my personal experiences through a discussion of Black identity and Black space, I critically examine larger issues of Black performativity and Black cultural spaces.","PeriodicalId":36478,"journal":{"name":"Departures in Critical Qualitative Research","volume":"260 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79623230","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.1525/dcqr.2021.10.4.54
Robert J. Razzante
Those who benefit from privilege often fail to understand the inner workings of their privilege. If they do, they can respond in various ways: abuse their privilege, continue to ignore it, become more self-reflexive with their actions, and more. This essay engages my (in)ability to use a standpoint of privilege in challenging everyday acts of oppression. I offer a dominant group methodology that uses dominant group theory as a heuristic to practice critical self-reflexivity through autoethnography. I follow by providing autoethnographic accounts of moments when I complicitly reinforced or attempted to impede communicative behavior(s) that perpetuated prejudice and discrimination. I conclude with practical implications for readers—especially those who identify as dominant group members. More specifically, I invite readers to unlearn oppressive ways of being toward the continual development and enactment of a social justice orientation.
{"title":"Challenging the Hegemonic Police Within","authors":"Robert J. Razzante","doi":"10.1525/dcqr.2021.10.4.54","DOIUrl":"https://doi.org/10.1525/dcqr.2021.10.4.54","url":null,"abstract":"Those who benefit from privilege often fail to understand the inner workings of their privilege. If they do, they can respond in various ways: abuse their privilege, continue to ignore it, become more self-reflexive with their actions, and more. This essay engages my (in)ability to use a standpoint of privilege in challenging everyday acts of oppression. I offer a dominant group methodology that uses dominant group theory as a heuristic to practice critical self-reflexivity through autoethnography. I follow by providing autoethnographic accounts of moments when I complicitly reinforced or attempted to impede communicative behavior(s) that perpetuated prejudice and discrimination. I conclude with practical implications for readers—especially those who identify as dominant group members. More specifically, I invite readers to unlearn oppressive ways of being toward the continual development and enactment of a social justice orientation.","PeriodicalId":36478,"journal":{"name":"Departures in Critical Qualitative Research","volume":"7 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73137905","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.1525/dcqr.2021.10.3.65
Liliana Conlisk Gallegos
This essay documents forms in which repressed supremacy—with the purpose to ultimately push out and exclude people of color professors—is enacted. My endurance within toxic spaces is the result of channeling Tlazolteotl and putting my Coyolxauhqui together, referring to the act of constantly reinventing myself by turning excrement into life and rejoining the pieces of my experience. I also share a successful teaching, research, and service agenda of resistance that fulfills requirements as it is simultaneously defiant. By referring to covert acts of violence as the methodology of the repressed, my goal is to expose and promote their collective eradication.
{"title":"Methodology of the Repressed in Faculty Hiring","authors":"Liliana Conlisk Gallegos","doi":"10.1525/dcqr.2021.10.3.65","DOIUrl":"https://doi.org/10.1525/dcqr.2021.10.3.65","url":null,"abstract":"This essay documents forms in which repressed supremacy—with the purpose to ultimately push out and exclude people of color professors—is enacted. My endurance within toxic spaces is the result of channeling Tlazolteotl and putting my Coyolxauhqui together, referring to the act of constantly reinventing myself by turning excrement into life and rejoining the pieces of my experience. I also share a successful teaching, research, and service agenda of resistance that fulfills requirements as it is simultaneously defiant. By referring to covert acts of violence as the methodology of the repressed, my goal is to expose and promote their collective eradication.","PeriodicalId":36478,"journal":{"name":"Departures in Critical Qualitative Research","volume":"26 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91091036","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.1525/dcqr.2021.10.3.31
Cheyenne Zaremba
In the early 19th century, the invention of the camera introduced a whole new way to capture and represent the body in death. Postmortem photography created a picture of the body that depicted death as poised, peaceful, and overwhelmingly white. This essay references postmortem photography and examples of racial injustice to exemplify the ways raced bodies are represented in images of death. Through the performance of three scenes, I explore the principle of a good death as a privilege historically withheld from Black Americans.
{"title":"A Picture of a Good Death","authors":"Cheyenne Zaremba","doi":"10.1525/dcqr.2021.10.3.31","DOIUrl":"https://doi.org/10.1525/dcqr.2021.10.3.31","url":null,"abstract":"In the early 19th century, the invention of the camera introduced a whole new way to capture and represent the body in death. Postmortem photography created a picture of the body that depicted death as poised, peaceful, and overwhelmingly white. This essay references postmortem photography and examples of racial injustice to exemplify the ways raced bodies are represented in images of death. Through the performance of three scenes, I explore the principle of a good death as a privilege historically withheld from Black Americans.","PeriodicalId":36478,"journal":{"name":"Departures in Critical Qualitative Research","volume":"58 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72840067","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.1525/dcqr.2021.10.3.36
T. T. Brown
What is a good death and who deserves the experience? To answer this question, I decided to respond in the language in which I am most fluent. The language of art. The images here are a small portion of a body of work built from more than a decade spent photographing memorials and memorial spaces in an effort to document, interrogate, understand, and celebrate the universe’s second most unifying experience. Death. One hundred percent of all that is born…must die. My body of work focuses on Afro-Diasporic traditions and practices, but the themes illustrated are universal. In this visual conversation, a good death involves simple yet heartfelt experiences such as peace, comfort, space for tradition, celebration, and above all else…dignity.
{"title":"Speaking of a Good Death in the Language of Art","authors":"T. T. Brown","doi":"10.1525/dcqr.2021.10.3.36","DOIUrl":"https://doi.org/10.1525/dcqr.2021.10.3.36","url":null,"abstract":"What is a good death and who deserves the experience? To answer this question, I decided to respond in the language in which I am most fluent. The language of art. The images here are a small portion of a body of work built from more than a decade spent photographing memorials and memorial spaces in an effort to document, interrogate, understand, and celebrate the universe’s second most unifying experience. Death. One hundred percent of all that is born…must die. My body of work focuses on Afro-Diasporic traditions and practices, but the themes illustrated are universal. In this visual conversation, a good death involves simple yet heartfelt experiences such as peace, comfort, space for tradition, celebration, and above all else…dignity.","PeriodicalId":36478,"journal":{"name":"Departures in Critical Qualitative Research","volume":"19 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75082189","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.1525/dcqr.2021.10.3.57
L. Davidson
Conducting research in a familiar site of crisis brings about feelings of resonance between a researcher and participants. After 11 months of shadowing a pediatric palliative care team and 20 interviews with parents and grandparents of seriously ill children, the author, also the parent of a medically complex child, searched for creative ways to explore her findings. In this exploration of life as the parent of a seriously ill hospitalized child, the researcher reflects on her participants’ and her own collective experiences and frustrations in the form of poetry.
{"title":"Poems from the Deep","authors":"L. Davidson","doi":"10.1525/dcqr.2021.10.3.57","DOIUrl":"https://doi.org/10.1525/dcqr.2021.10.3.57","url":null,"abstract":"Conducting research in a familiar site of crisis brings about feelings of resonance between a researcher and participants. After 11 months of shadowing a pediatric palliative care team and 20 interviews with parents and grandparents of seriously ill children, the author, also the parent of a medically complex child, searched for creative ways to explore her findings. In this exploration of life as the parent of a seriously ill hospitalized child, the researcher reflects on her participants’ and her own collective experiences and frustrations in the form of poetry.","PeriodicalId":36478,"journal":{"name":"Departures in Critical Qualitative Research","volume":"19 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77076597","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.1525/dcqr.2021.10.2.24
Jacob G. Abraham, Rachel B. Archambault, Amy R. Kenny Kleinman, Ben Lippel, Stacey L. Lippel
Through a collection of personal narratives, members of the Marjory Stoneman Douglas High School (MSD) community share how they navigate their lives in the aftermath of a school shooting that spawned marches in Washington, DC, and nationwide organizing surrounding gun violence. MSD activism exists beyond conventional political means and the work of healing the community continues in other forums. While the names and faces of student activists are easily recognizable, in this piece readers will encounter largely overlooked voices, as attention deservedly went to student activists, hearing from adults who live, teach, work, and parent in and around Parkland, FL.
{"title":"Movement","authors":"Jacob G. Abraham, Rachel B. Archambault, Amy R. Kenny Kleinman, Ben Lippel, Stacey L. Lippel","doi":"10.1525/dcqr.2021.10.2.24","DOIUrl":"https://doi.org/10.1525/dcqr.2021.10.2.24","url":null,"abstract":"Through a collection of personal narratives, members of the Marjory Stoneman Douglas High School (MSD) community share how they navigate their lives in the aftermath of a school shooting that spawned marches in Washington, DC, and nationwide organizing surrounding gun violence. MSD activism exists beyond conventional political means and the work of healing the community continues in other forums. While the names and faces of student activists are easily recognizable, in this piece readers will encounter largely overlooked voices, as attention deservedly went to student activists, hearing from adults who live, teach, work, and parent in and around Parkland, FL.","PeriodicalId":36478,"journal":{"name":"Departures in Critical Qualitative Research","volume":"54 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76394472","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.1525/dcqr.2021.10.2.1
Aisha Durham, Wesley Johnson, S. J. Sanders
Florida is a site of critical inquiry and figures prominently in the US American imaginary. The Sunshine State sets the stage for broader conversations about cultural difference, climate change, and participatory democracy. Contributors to this special issue apply the canonical circuit of culture model to address the interrelated nature of culture and power. They provide methodologically thick, fleshy interpretive analyses that privilege experiential, experimental, and embodied approaches to take seriously Florida cultural politics, people, and popular forms.
{"title":"Guest Editor’s Introduction","authors":"Aisha Durham, Wesley Johnson, S. J. Sanders","doi":"10.1525/dcqr.2021.10.2.1","DOIUrl":"https://doi.org/10.1525/dcqr.2021.10.2.1","url":null,"abstract":"Florida is a site of critical inquiry and figures prominently in the US American imaginary. The Sunshine State sets the stage for broader conversations about cultural difference, climate change, and participatory democracy. Contributors to this special issue apply the canonical circuit of culture model to address the interrelated nature of culture and power. They provide methodologically thick, fleshy interpretive analyses that privilege experiential, experimental, and embodied approaches to take seriously Florida cultural politics, people, and popular forms.","PeriodicalId":36478,"journal":{"name":"Departures in Critical Qualitative Research","volume":"354 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76480755","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：