The exegesis, autoethnography and the ethical management of enactive practice

Joseph, SA

The exegesis, autoethnography and the ethical management of enactive practice

Joseph, SA

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Publisher:: Common Ground Publishing
Publication Type:: Chapter
Citation:: Old and New, Tried and Untested: creativity and research in the 21st century university, 2016, pp. 107 - 122 (15)
Issue Date:: 2016

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Field	Value	Language
dc.contributor.author	Joseph, SA https://orcid.org/0000-0003-4978-6633	en_US
dc.contributor.editor	Kroll, J	en_US
dc.contributor.editor	Melrose, A	en_US
dc.contributor.editor	Webb, J	en_US
dc.date.issued	2016	en_US
dc.identifier.citation	Old and New, Tried and Untested: creativity and research in the 21st century university, 2016, pp. 107 - 122 (15)	en_US
dc.identifier.isbn	9781612298405	en_US
dc.identifier.uri	http://hdl.handle.net/10453/53395
dc.description.abstract	Defining research methodologies within the creative practices has been a controversial and fraught issue throughout Australian tertiary programmes. Academics appropriate existing conceptual theoretical paradigms to greater and lesser degrees; while other academics argue that ‘practice’ itself is the heart of the research, putting practice-led research forward as the discipline’s core methodology. The latter is harder to argue in terms of a government funding model, causing ongoing frustration throughout the creative Australian academy. Attempting to create a third approach, this paper argues that the techniques of an ‘enactive methodology’ within practice-led and creative higher degree research are also applicable and viable, potentially providing a solid model akin to scientifically reproducing ‘results’. Subsequently, this paper also looks briefly at the ethical imperative of supervising students interrogating their own trauma narrative in a tertiary institution, flagging a pedagogical model of ethical supervision. Focussing on written long form trauma narrative through the HDR supervision process, this paper interrogates six enactive methodologies utilised by four students within their creative component, then interrogated in the exegetical component of candidate research constellating notions of: living with an alcoholic parent; death of a parent; child sexual abuse; and life as a child refugee.	en_US
dc.publisher	Common Ground Publishing	en_US
dc.relation.ispartof	Old and New, Tried and Untested: creativity and research in the 21st century university	en_US
dc.title	The exegesis, autoethnography and the ethical management of enactive practice	en_US
dc.type	Chapter
utslib.location	Champaign Illinois	en_US
utslib.for	2201 Applied Ethics	en_US
utslib.for	1999 Other Studies in Creative Arts and Writing	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences/Creative Writing Program
pubs.organisational-group	/University of Technology Sydney/Strength - CPCE - Centre for Creative Practices and the Cultural Economy
utslib.copyright.status	closed_access
pubs.consider-herdc	true	en_US
pubs.place-of-publication	Champaign Illinois	en_US
pubs.publication-status	Published	en_US

Abstract:

Defining research methodologies within the creative practices has been a controversial and fraught issue throughout Australian tertiary programmes. Academics appropriate existing conceptual theoretical paradigms to greater and lesser degrees; while other academics argue that ‘practice’ itself is the heart of the research, putting practice-led research forward as the discipline’s core methodology. The latter is harder to argue in terms of a government funding model, causing ongoing frustration throughout the creative Australian academy. Attempting to create a third approach, this paper argues that the techniques of an ‘enactive methodology’ within practice-led and creative higher degree research are also applicable and viable, potentially providing a solid model akin to scientifically reproducing ‘results’. Subsequently, this paper also looks briefly at the ethical imperative of supervising students interrogating their own trauma narrative in a tertiary institution, flagging a pedagogical model of ethical supervision. Focussing on written long form trauma narrative through the HDR supervision process, this paper interrogates six enactive methodologies utilised by four students within their creative component, then interrogated in the exegetical component of candidate research constellating notions of: living with an alcoholic parent; death of a parent; child sexual abuse; and life as a child refugee.

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http://hdl.handle.net/10453/53395