Home, Materiality, Memory and Belonging

Hurdley, Rachel

doi:10.1057/9781137312952

Cited by 53 publications

(48 citation statements)

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“…Our argument here is that poetic methods can surface voices in different ways. Social science methodologies that explore everyday cultural practices recognize the material and storied nature of everyday life (Hurdley, 2013;Highmore, 2014). Everyday cultural practice resides within a shifting materially situated landscape.…”

Section: Poetry As Methodsmentioning

confidence: 99%

Poetry as method – trying to see the world differently

Hoult¹,

Mort²,

Pahl³

et al. 2020

Research for All

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Research with communities, even co-produced research with a commitment to social justice, can be limited by its expression in conventional disciplinary language and format. Vibrant, warm and sometimes complex encounters with community partners become contained through the gesture of representation. In this sense, 'writing up' can actually become a kind of slow violence towards participants, projects and ourselves. As a less conventional and containable form of expression, poetry offers an alternative to the power games of researching 'on' communities and writing it up. It is excessive in the sense that it goes beyond the cycles of reduction and representation, allowing the expression of subjective (and perhaps sometimes even contradictory) impressions from participants. In this cowritten paper we explore poetry as a social research method through subjective testimony and in the light of our Connected Communities-funded projects (Imagine, Threads of Time and Taking Yourself Seriously), where poetry as method came to the fore as a way of hearing and representing voices differently.

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Section: Poetry As Methodsmentioning

confidence: 99%

Poetry as method – trying to see the world differently

Hoult¹,

Mort²,

Pahl³

et al. 2020

Research for All

View full text Add to dashboard Cite

show abstract

“…This partly reflected the limited space of the rooms and the habit of residents with restricted mobility to have everything they needed within reach (Nord, 2013). However I would also argue that it is similar to most homelike spaces, where shelves or mantelpieces may simultaneously contain relatively permanent display objects such as vases and framed photographs, as well as more temporary things such as postcards, shopping lists or keys (Hurdley, 2013). This material arrangement of the banal with the symbolic suggested movement and life, a sense that home life was going on 'as normal', despite 'home' being a room within a residential home.…”

Section: The Materials Temporalities Of Homementioning

confidence: 99%

Becoming at Home in Residential Care for Older People: A Material Culture Perspective

Lovatt¹

2018

Materialities of Care

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“…Csikszentmihalyi and Rochberg Halton's seminal study views practices of displaying possessions as symbolic of personal meaning. Hurdley (2013) studies the mantlepiece as a display space with performative and ordering functions, enabling objects to be lifted above the ordinary run of things in the home, to give emphasis to their meaning, or to make them visible and therefore not forgotten. Similarly Miller (2008) discusses the ordering of possessions and meaning in relation to display.…”

Section: Transition 2: Into Mary's Homementioning

confidence: 99%

“…Long-standing historical processes and cultural values inform the ways in which we display things (Chevalier 1998). For example, a mantelpiece sets up an expectation of displaying objects (Hurdley 2013). Material agency is addressed in historian Edwards' (1999) detailed account of how the physical form of an object (in this case a photo frame) can set up an expectation of particular sorts of display and interaction.…”

Section: Transition 2: Into Mary's Homementioning

confidence: 99%

“…More recent research links home possessions, memory and meaning-making to everyday practices, creativity and human agency (e.g. Pink 2004, Hurdley 2013, Turkle 2011, Miller 2001& 2008. This, and related research, will be my means of contextualizing and understanding Mary's story, which I havestructured as four 'transitions' that describe its journey from functional and decorative household object, to museum artefact.…”

Section: Introductionmentioning

confidence: 99%

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