The Descriptive Phenomenological Psychological Method

Morley, James

doi:10.4135/9781526405555.n11

Cited by 200 publications

(225 citation statements)

References 0 publications

Supporting

Mentioning

185

Contrasting

Unclassified

Order By: Relevance

“…The homogeneity of the sample in regard to tenured status, disciplines (all humanities, two from English), and university level instruction might also constrain the generalizability of the findings. While it is our expectation that the imaginative variation in our analysis would enable us to arrive at the 'trans-situational' elements of our findings (see Garza, 2007Garza, , 2011Giorgi, 2009;Giorgi & Giorgi, 2003, Wertz, 1983, 1985, and even as phenomenological researchers have shown that in-depth analysis of even a single case can suffice to develop a general structure of a phenomenon (see Wertz, 1983Wertz, , 1985 it would be beneficial to expand the current analysis to include a greater variety of teachers, across a greater variety of disciplines, with a greater range of experience and within a greater variety of educational settings in future research.…”

Section: Limitations and Directions For Future Researchmentioning

confidence: 99%

Why Teach? A Project-ive Life-world Approach to Understanding What Teaching Means for Teachers

Landrum

Guilbeau

Garza

2017

QRE

View full text Add to dashboard Cite

Previous literature has examined teachers' motivations to teach in terms of intrinsic and extrinsic motives, personality dimensions, and teacher burnout. These findings have been cast in the rubric of differences between teachers and non-teachers and the linear relations between these measures among teachers. Utilizing a phenomenological approach (Giorgi, 1970) to analyze data generated in structured interviews with four tenured professors from small, liberal arts universities whose central mission is teaching, this paper presents the telic or project-ive horizons of teaching -those motives aimed at what is 'not yet' (Heidegger, 1927(Heidegger, /1962. Results revealed that teaching is understood by teachers to be a dialogical enterprise between a teacher and learners across dimensions of transformation, knowledge, and personhood. This dialogue entailed an abiding tension between self and other, activity and passivity, giving and receiving, preparation and spontaneity, instructing and learning, leading and following, asserting and withdrawing. It comprised an orientation to a teachers' vision for the possible future personhood of the teacher and their students and to the character of the world which teachers and learners inhabit together. These findings are discussed in terms of the reviewed literature and as a case in point for a vital complementarity of research approaches. Keywords ResumenLa literatura ha examinado las motivaciones de los docentes para enseñar en términos de motivos intrínsecos y extrínsecos, las dimensiones de la personalidad, y el desgaste. Estos hallazgos han sido expuestos mediante diferencias entre maestros y no-maestros y las relaciones lineales de este indicativo entre los maestros. Utilizando un enfoque fenomenológico (Giorgi, 1970) para analizar los datos generados en entrevistas estructuradas con cuatro profesores titulares de una pequeña universidad de humanidades cuya misión central es la docencia, este trabajo presenta los horizontes telic o proyect-ivos de la enseñanza -esos motivos que apuntan a lo que "no es todavía" (Heidegger, 1927(Heidegger, /1962. Los resultados revelaron que la enseñanza es entendida por los maestros como una relación dialógica entre un maestro y sus estudiantes a través de dimensiones de transformación, conocimiento y personalidad. Este diálogo implicaba una tensión constante entre el yo y el otro, la actividad y la pasividad, el dar y recibir, la preparación y la espontaneidad, instruir y aprender, dirigir y seguir, afirmar y retirar. Esto comprendía una orientación de los maestros hacia su posible futura personalidad y la de sus estudiantes y sobre el carácter del mundo en el que profesores y estudiantes cohabitan. Estos hallazgos se discuten en términos de la literatura revisada y como ejemplo de una complementariedad vital de los enfoques de investigación

show abstract

Section: Limitations and Directions For Future Researchmentioning

confidence: 99%

Why Teach? A Project-ive Life-world Approach to Understanding What Teaching Means for Teachers

Landrum

Guilbeau

Garza

2017

QRE

View full text Add to dashboard Cite

show abstract

“…Que la persona haya vivenciado la experiencia que se pretende estudiar; y 2. Que la persona posea la capacidad de describir verbalmente dicha experiencia (Giorgi, 1985;Giorgi & Giorgi, 2003). Las preguntas guías u orientadoras abordaron: ¿cómo es la experiencia de la creación de una obra musical?, ¿cómo es enfrentada la experiencia de creación de una obra musical?, y ¿qué sentido tiene la experiencia de creación de una obra musical?…”

Section: Metodologíaunclassified

El inconsciente/consciente en la creación de una obra musical

Posada¹,

Correa²

2016

Summa Psicológica

View full text Add to dashboard Cite

ResumenEn el presente artículo se realiza un análisis de los procesos psicológicos implicados en la creación de una obra musical, abordados teóricamente desde de la psicología fenomenológica existencial, con el objetivo de comprender la dinámica consciente e inconsciente de la composición a partir del método fenomenológico. Éste respeta la relación que hace la persona de sus propias vivencias y se centra en esas realidades poco comunicables, pero que son determinantes para la comprensión de la vida psíquica de cada persona. Los resultados mostraron que en un proceso creativo existen vivencias "irracionales", de carácter intuitivo, que sacan a la luz contenidos inconscientes, con vínculos en experiencias del pasado, que rinden cuentas del compromiso del compositor con el encuentro. Paradójicamente, estas áreas que emergen desde el inconsciente, son aquellas donde los compositores habían estado más conscientemente comprometidos en estado de vigilia, las cuales irrumpen para cumplir la función de completar una gestalt inconclusa con la que éstos luchaban conscientemente. Y existen también vivencias conscientes caracterizadas por una disciplina de trabajo constante, concluyéndose que no es posible la emergencia de ideas genuinamente creativas, sin un trabajo previo consciente y arduo realizado en estado de vigilia.Palabras clave: Inconsciente, consciente, creatividad, música, creación artística, composición musical. AbstractThe present research aimed to analyze psychological processes involved in creating a musical work. Existential phenomenological psychology was selected as theoretical base for the purpose of understanding the conscious and unconscious dynamics in composition, from the phenomenological method. The mentioned method respects the experiences accounted by the person and focus on those realities difficult to communicate which are, however, crucial for understanding the psychic life of each person. Results showed that "irrational" experiences of an intuitive nature are present within the creative process, bring to light unconscious contents linked to the past experiences and reveal the composer's commitment with the encounter. Paradoxically, these areas emerge from the unconscious where composers had been more consciously committed to be on guard, in order to fulfil the function of an unfinished gestalt against which they struggled consciously. Conscious experiences characterized by constant work discipline have also been detected. Therefore, it has been concluded that the emergence of genuinely creative ideas is not possible without prior conscious and arduous work performed in a wakeful mood.

show abstract

“…As a methodology, phenomenology aims to reveal the essential meaning of a certain phenomena as shared by participants during the interview. Giorgi (2003) and Moustakas (1994) wrote that phenomenology was an appropriate choice to aid in the understanding of the lived experience of entrepreneurs. It studies phenomena and uses philosophy to gain a better understanding of how people perceive situations or phenomena, how they understand them and their general knowledge of them.…”

Section: Methodsmentioning

confidence: 99%

Understanding spirituality as experienced by Catholic entrepreneurs

Raco¹

2018

Preprint

View full text Add to dashboard Cite

Abstract:The purpose of this paper is to find out the meaning of spirituality as described by catholic entrepreneurs based on their daily experiences. The data were collected through open ended interviews. Eight entrepreneurs were interviewed. Data analysis and interpretation used phenomenological approach to get the essential meaning of their experiences. The findings of the study revealed that spirituality was understood as divine power and inner-self driving force that affects the entrepreneurs' attitude and behaviour toward their business activities. This study is limited to catholic entrepreneurs. This research has implication to the study of entrepreneurship to offer insight that inner factors have strong influence. For researchers, this study deepens the understanding of entrepreneurs. This research contributes to the theory of entrepreneurship and spirituality since there are still very few studies on this topic.

show abstract

The Descriptive Phenomenological Psychological Method

Cited by 200 publications

References 0 publications

Why Teach? A Project-ive Life-world Approach to Understanding What Teaching Means for Teachers

Why Teach? A Project-ive Life-world Approach to Understanding What Teaching Means for Teachers

El inconsciente/consciente en la creación de una obra musical

Understanding spirituality as experienced by Catholic entrepreneurs

Contact Info

Product

Resources

About