Suchergebnisse

Purpose
Although the epistemology of researcher reflexivity has been championed as crucial to research for some 30 years, it remains controversial and often ill-defined. In the 1980s, "reflexivity" was championed by the hermeneutically and epistemologically savvy to try and break the strangle hold of naïve positivism. Nowadays, reflexivity most often refers to the turn-to-affect and to the researcher's ability and willingness to radically sensitivize "self" to others and circumstances. The purpose of this paper is to specify what non-representational research has brought to the reflexivity debate and then focus on Brosseau's particular rendition of reflexivity, which is seen as far more demanding, problematic and valuable.


Design/methodology/approach
The approach followed in this paper is a hermeneutic reflection based on Thrift's and Brosseau's oeuvres. The perspective is historical, qua research methods' take on reflexivity and qua Brosseau textual production.


Findings
Five differences between Thrift's and Brosseau's reflexivities are highlighted. Brosseau brings us much further in applying affective reflexivity to research writing than does Thrift.


Originality/value
A polemic calling for and warnings about the complexities of affective reflexivity, presented as demanding, dangerous and complex.

Purpose
Commodification doubles self and work, life and object, uniqueness and standardization and art and management. For the artist, the unicity, beauty, inspiration and creativity of art is doubled in the sale, marketing, display, distribution and mass production of "art works". Making art is intimate, personal and individual; selling art requires public display, pleasing the all important customer(s) and dealing with many sorts of in-betweens. What commodification is on the artist/art work level is doubling on the I/me, self/persona, private/public and in-group/out-group level. This paper aims to examine the commodification and doubling in the case of the Gee's Bend quilt makers. The quilts foreshadowed the modernist aesthetic and are of the highest aesthetic quality. But, they were made in a traditional rural society by very poor, uneducated black women. The quilts were not made to be sold but were dedicated to familial remembrance and to immediate aesthetic pleasure. But now that they are on display: is escape from commodification possible?


Design/methodology/approach
Reprint for special issue.


Findings
Doubling, in the original article below, was tendentious but artistically and politically to be overcome; doubling currently seems much more ominous, omnipresent and out of control. Signifyin(g) has become bomb throwing. Present day doubling apparently produces terror and not just commodification.


Originality/value
Invited for publication.