Poetic Inquiry

Prendergast, Monica; Leggo, Carl; Sameshima, Pauline

doi:10.1163/9789087909512

Cited by 211 publications

(44 citation statements)

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“…Hare, 2001Hare, , 2005Marker, 2016Marker, , 2017Marker, , 2018Stewart, 2015), artists and poets (e.g. Dunlop, 1999;Fels, 1999;Irwin, 2003;James & Leggo, 2017;Prendergast, 2006Prendergast, , 2015Sameshima, 2007), and proponents of digital media and scholarship (e.g. Ball, 2004;Purdy & Walker, 2010;Priem 2013).…”

Section: Settings and Preferencesmentioning

confidence: 99%

Click Here: Unsettling Scholarly Writing Practices and Knowledge Representation

Gupta

2020

L & L

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In fine arts, a diptych usually consists of two paintings that are hinged or bound together to form a single piece that opens like a book. In my interpretation of the form, I have written this paper as a textual diptych. It consists of two halves—each of which provides a slightly different perspective and response to the question: How might scholars work to unsettle conventional practices of academic representation in order to allow for different knowledges and understandings to emerge? Further, I wonder in what ways I might expand how and what I write to include as-yet-unsanctioned thoughts, insights, sources, forms, and habits in order to unsettle conventional academic scholarship. This piece of work is my current contribution to the conversation on what it means to write academically, to represent one’s scholarship.

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Section: Settings and Preferencesmentioning

confidence: 99%

Click Here: Unsettling Scholarly Writing Practices and Knowledge Representation

Gupta

2020

L & L

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“…The final data are presented in poetic form, which helps readers access the subtexts that shape human experience and democratize the use and understanding of the findings (Leavy, 2015). Prendergast et al (2009) grouped research poetry into three categories, which include researcher-voiced, participant-voiced, or literature-voiced. The voice of the poem indicates where the ideas and text in the research poem originate.…”

Section: Sampling Poetic Inquirymentioning

confidence: 99%

“…To achieve a liberatory research praxis, I turn to the hip hop aesthetic of sampling, characterized by taking previously recorded music and piecing it together with a variety of techniques to create a new instrumental track (Petchauer, 2015; Schloss, 2004). In this article, I propose a sampling of poetic inquiry (Faulkner, 2009; Leavy, 2015; Prendergast, Leggo, & Sameshima, 2009), critical qualitative research (Denzin, 2017), and culturally relevant pedagogy (CRP; Ladson-Billings, 1995, 2014) to argue for critical poetic inquiry as a culturally relevant methodology. By sampling elements of each, I propose a new entry into qualitative research for researchers and participants that do not neatly fit into the White, hetero, Western identities sanctioned as “normative” in academia.…”

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confidence: 99%

Sampling Poetry, Pedagogy, and Protest to Build Methodology: Critical Poetic Inquiry as Culturally Relevant Method

Davis

2019

Qualitative Inquiry

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This article argues for a culturally relevant methodology that can aid minoritized and justice-oriented qualitative researchers in amplifying and sustaining the cultural epistemologies and counter-stories of minoritized research participants. The author uses the hip hop aesthetic of sampling as a structural metaphor to assemble the elements of a culturally relevant methodology capable of protest by sampling from the arts-based method of poetic inquiry, culturally relevant pedagogy, and critical race theory. This article explains criteria for a culturally relevant methodology of critical poetic inquiry and provides examples of research poetry that meet the criteria.

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“…"Poetry is nearer to vital truth than history. "~ Plato T he field of research poetry by now has a well-developed body of work including textbooks (Faulkner, 2016;Prendergast, Leggo, & Sameshima, 2009), conference presentations, methodological development (e.g., Faulkner, 2016;Furman, 2006;Glesne, 1997;Lahman et al, 2011;Prendergast, 2006;Richardson, 1993), and supportive journals of which Qualitative Inquiry continues to be a leading force. Also growing in support of poetic methods and representation are field-specific journals.…”

Section: Poetasters and Researchmentioning

confidence: 99%

ish: How to Write Poemish (Research) Poetry

Lahman

Richard

Teman

2018

Qualitative Inquiry

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Discussion has occurred around what constitutes quality research poetry, with some direction on how a researcher, who is a novice poet, might go about writing good enough research poetry. In an effort to increase the existing conversation, the authors review research poetry literature and ideas from art poets on how to read, write, and revise poetry. The authors interrupt the prose text throughout with poetic interludes and quotes from poets. The conversation is framed by the conception of ish and poemish which is drawn directly from Reynolds’s powerful book ish. Poemish representations may be said to be research representations characterized by features of poetry and an effort to blend the aesthetics of poetry and science of research into something which may be said to be poem-like, ish, or poemish.

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Poetic Inquiry

Cited by 211 publications

References 0 publications

Click Here: Unsettling Scholarly Writing Practices and Knowledge Representation

Click Here: Unsettling Scholarly Writing Practices and Knowledge Representation

Sampling Poetry, Pedagogy, and Protest to Build Methodology: Critical Poetic Inquiry as Culturally Relevant Method

ish: How to Write Poemish (Research) Poetry

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