Performative Writing as Scholarship: An Apology, an Argument, an Anecdote

Pelias, Ronald J.

doi:10.1177/1532708605279694

Cited by 76 publications

(41 citation statements)

References 10 publications

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“…Our writing strategy draws on techniques of performative or creative writing as a way of involving the reader in a text that is more vivid and immediate (Caulley, 2008;Pelias, 2005). Performative writing starts 'with the recognition that individual bodies provide a potent database for understanding the political and that hegemonic systems write on individual bodies' (Pelias, 2005: 420).…”

Section: Studying the Agonizingly Familiarmentioning

confidence: 99%

The elephant in the room: Critical management studies conferences as a site of body pedagogics

Bell

King

2010

Management Learning

115

125

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The elephant in the room: ©-n»Author2010 AbstractThis article explores conferences as an inter-corporeal space wherein body pedagogics are enacted, enabling the acquisition of techniques, skills and dispositions that allow newcomers to demonstrate their proficiency as members of a culture.The bodies of conference participants constitute the surface onto which culture is inscribed, these normalizing practices enabling academic power relations to be constructed and identitiesinternalized.An autoethnographic analysis of critical management studies (CMS) conferences forms the basis for identification of the bodily dispositions of control and endurance which characterize the proficient CMS academic.The article considers the potential silencing effects associated with these practices that generate a between-men culture that excludes difference and reinforces patriarchal values. It concludes by reviewing the implications of body pedagogics for understanding how other organizational cultures are constructed.

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Section: Studying the Agonizingly Familiarmentioning

confidence: 99%

The elephant in the room: Critical management studies conferences as a site of body pedagogics

Bell

King

2010

Management Learning

115

125

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“…Such work demands research and writing that is vulnerable, empathic (Muncey, 2010, p. 36) and heartfelt. Pelias (2005) suggests that alternative modes of academic writing like auto-ethnography are able to combine evocative strands of real-life experience with empowering fictions, to create stories that the reader can accept as being reliable (p. 418). Such writing can draw the reader into my Chinese reality, not only to see what I saw but also to feel what I felt -as Pelias (2005, p. 419) claims, it is an invitation to see and feel things from another viewpoint.…”

Section: Taking the Auto-ethnographic Pathmentioning

confidence: 97%

“…Such writing can draw the reader into my Chinese reality, not only to see what I saw but also to feel what I felt -as Pelias (2005, p. 419) claims, it is an invitation to see and feel things from another viewpoint. In recent years, many academics, such as Sparkes (2007), Pelias (2004Pelias ( , 2005, Spry (2011), Moreira (2008Moreira ( , 2011 and Jewett (2008), have used evocative, vulnerable and heartfelt auto-ethnographic forms of writing to interrogate their own social realities within higher education contexts.…”

Section: Taking the Auto-ethnographic Pathmentioning

confidence: 99%

“…Reflecting on the principle that 'writing is a moral site' governed by one's intentionality, Richardson (1990) writes: '[w]e can choose to write so that the voice of those we write about is respected, strong and true' (p. 38). As researchers, we write from a position, location and history that are specific and contextually situated (Hall, 1989;Pelias, 2005;Richardson, 1990). Thus, the use of auto-ethnography for writing stories (in this case, about our lives as teachers in offshore locations) permits us to reveal voices that might otherwise have been silent in traditional research or misused as tools to interpret culture (Tierney, 1998, p. 66).…”

Section: Higher Education Research and Developmentmentioning

confidence: 99%

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Memoir as a form of auto-ethnographic research for exploring the practice of transnational higher education in China

Scott

2013

Higher Education Research & Development

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In this paper, I argue that memoir, as a form of auto-ethnographic research, is an appropriate method for exploring the complexities and singularities in the practice of western educational practitioners who are immersed in the social reality of offshore higher education institutions, such as those in Mainland China. I illustrate this proposition by showing how my own use of memoir is guided by a need to interrogate the unique experiences of my past life as 'the foreigner', 'the special one', 'the imported expert' and 'the cultural outsider', in order to lay bare the complexity of what it means to work and live in China as a foreign teacher and be recognised as different. I am interested in the notion of foreignness, and the ambiguities that arise when one operates as a teacher in a foreign culture, with a misguided and naïve understanding of one's own specialness as the foreign expert. My research methodology is based on critically reflective writing that acknowledges the multiplicity of historical, cultural and social differences, and the uniqueness of all individuals, whilst recognising that difference, at its heart, is a matter of relationship(s). This form of writing as educational research makes it possible to challenge some of the generalisations western scholars inadvertently make when writing about their teaching experiences in China.

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“…As Pelias (2005) notes there is something about the way of being in this kind of experiential mode of writing that might give us a place where something is uncovered. It might be a place of discovery, but actually is also a place of the political, a possible place of political action and resistance.…”

Section: The Significance Of Wordsmentioning

confidence: 99%

Closer to the body: Reflections on skript and extracts from collected writings

Bacon

Midgelow²

2014

Choreographic Practices

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In this two part article we reflect upon the experience of writing-dancing with audiences and artists in the context of our installation work skript (commissioned by Dance4, Nottingham, 2013). Part one considers how skript engages embodied, felt sense, improvisational and collaborative modalities in relation to the act of writing. As such we consider the ways in which the particular interface of language and embodiment, which is the focus of skript, might allow a knowing of 'something' otherwise -be that something a sense of our own bodies, a dance work, a performance experience or perhaps just that moment in time. In part two we share extracts of some of the writings that were collaboratively generated as part of skript. We focus on the work of three performance/movement artists: Guy Dartnell, Miguel Pereira and Rosalind Crisp. These dance-writings are published as they were written in real time, in the moment of engagement. They are edited only for length and at times to correct typographical errors (but only if the errors seemed to disturb the flow of the ideas) rather than to simply 'tidy' the text or the grammar. The writings are relational, improvisational and at times fragmentary. For more writings see: www.writing-dancing.blogspot.com.

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Performative Writing as Scholarship: An Apology, an Argument, an Anecdote

Cited by 76 publications

References 10 publications

The elephant in the room: Critical management studies conferences as a site of body pedagogics

The elephant in the room: Critical management studies conferences as a site of body pedagogics

Memoir as a form of auto-ethnographic research for exploring the practice of transnational higher education in China

Closer to the body: Reflections on skript and extracts from collected writings

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