<p>This study advances communication scholarship on fragments (McGee, 1990), while demonstrating how to create and use an innovative approach to scholarship in this field. The research goal was two-part. First, to better understand the everyday critic’s role in co-creating discourse. This master’s project prompted eight collaborators to create an artifact in response or interpretation to a focal work, the short story “The Yellow Wallpaper” by Charlotte Perkins Gilman. Ethnographic and autoethnographic methods were used to observe the discourse that emerged from this prompt. Observations challenge the separation between text and context, revealing the significant impact that vernacular fragments have on the rhetorical life of a work. The second research goal was to create an arts-based approach that would be most appropriate to reach this better understanding. This work can be used as an exemplar of arts-based research approaches applied to achieve theoretical understandings in communications scholarship.</p>

Applied theatre projects that aim to address social justice issues almost exclusively involve those who are experiencing injustice; while members of the state, who actively maintain the status quo, are frequently overlooked, despite the fact that they are essentially gatekeepers of social justice. In projects that do involve current and/or future members of the state, the root cause of social injustice and the systems, institutions, and ideology which support capitalism are only briefly mentioned, if at all. For this arts-based, anti-oppressive research, I facilitated three applied theatre projects that involved future and/or current gatekeepers. For each project, I considered the conditions that provided participants the opportunity to identify and question dominant ideology through the dramatic process. Having analyzed each case, I found that when applied theatre is structured using a revolutionary approach, it can cultivate felt understanding and deepen critical consciousness. In order to truly address issues of social justice with the goal to ending them, I argue for dedicated spaces where future and current gatekeepers can participate in applied theatre to critically examine the ideas that support capitalism, and the tendency and temptation to draw lines in the sand between “us” and “them”. / Graduate

Thesis advisor: M. Brinton Lykes / Every day Muslim women in the United States wake up to a harsh political world that attacks their identities, communities, and freedom. In this context, Muslim women endure immense psychological tolls on their sense of identity, safety, and relationships. For many of them, walking out the door and claiming their Muslim identity is an act of political resistance. Despite the disempowerment they may experience, many engage in social actions to resist these oppressive forces. Yet, Muslim women activists have received strikingly little attention in the psychological literature. To date, no research has explored the psychosocial experiences of Muslim women who engage in activism, nor the meanings they make of these engagements or their trajectories of resistance. Using a participatory research approach informed by art-based inquiry techniques, this inductive qualitative study explored 10 Muslim women activists’ trajectories into and experiences of engaging in social action. A constructivist theoretical model of Muslim women activists' processes of resistance and community liberation was developed through qualitative inductive analyses of in-depth interviews and participants’ illustrations. Eight “clusters” have been configured to map a model that represents both processes and outcomes of how these 10 women engaged, experienced, and made meaning of their activism. They include: (1) living in a post 9/11 sociopolitical context; (2) navigating the Muslim community context; (3) internal experiences of being a Muslim woman; (4) guiding ideals toward activism journey; (5) development of political analyses; (6) resistance actions toward social change; (7) burdens and benefits of engagement in resistance; and (8) supportive forces in the process of resistance.  Although only representative of 10 participants, the model is sufficiently theorized to suggest that life in a multiply traumatizing context shapes Muslim women activists’ experiences, precluding and contributing to their persistence and resistance throughout and during their engagement in social change work. Political analyses and ideals are vital in their descriptions of their trajectories of becoming activists. Benefits and burdens that are inevitable in social change work include both the thrill and fun of engaging in activism as well as the costs to relationships and conflicts inherent in such work. Finally, encouragement by other Muslims and allies is discussed as a valuable source of support to Muslim women activists. Limitations are discussed and implications are proposed to inform possibilities for future healing centered research and action. / Thesis (PhD) — Boston College, 2020. / Submitted to: Boston College. Lynch School of Education. / Discipline: Counseling, Developmental and Educational Psychology.

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A high school visual art educator, along with 20 students enrolled in this teacher/researcher's Advanced Placement (AP) studio course, investigated the processes involved in creating artwork. Understanding artistic processes beyond skills and techniques is significant for curriculum development, but it is also key in conceptualizing art as a way of knowing. The arts based research strategy utilized in this study was a/r/tography, which focuses on the interconnectedness between artist, researcher, and teacher/learner. This highly reflective form of action research allowed the researcher and students to uncover new understandings of what it means to be an artist-researcher through a combination of knowing, doing, and making. Student-researchers learned several arts based forms of inquiry by analyzing the processes of contemporary artists. They were invited to record and reflect upon their own processes in a research journal as they generated artworks. The teacher-researcher also kept an intensive reflective journal concerning artmaking, but also included pedagogical concerns, questions, observations, and insights. At the conclusion of the semester, students were taught to analyze their own artistic process via their sketchbook entries by creating two visualizations: a mind map and an artwork as a data visualization of their process. Several important understandings are drawn from this study that transform this educator's practice as an artist-educator. These include the following concepts: not knowing as an artist, researcher, student and teacher; anxiety may be a necessary factor in artistic creation and pedagogy; and pretending is a strategy that allows one to productively move through uncertainty, ambiguity, and anxiety.

Following is a study that explores learning in community in a fully-integrated, team taught course at a community college in New England. These classes, Learning Communities (LCs) represent rich opportunities for exploring and practicing democratic education. From a theoretical grounding in social learning theories and an exploration into learning and community as active, ongoing phenomena, I present narrative, relational research as enactment. Data from field notes, interviews, focus groups and researcher reflections inform findings and analysis. I represent this as an experience parallel to -- not claiming either to mirror or replace -- the experiences of the other participants. In these findings, I identify a duality of circles and lines, with circles representing open inquiry, community, collaboration, and democratic discourse. Lines represent reification, hierarchical and binary thinking, and the threat of positivism. Long hours, intense interactions, openness to collaboration, flexible pedagogy, and emerging curriculum all make for complicated relationships that allow for questions, confusions and tensions around what it means to know, who gets to decide, and what are the parameters and epistemologies of academic disciplines. I hope, through this text, to report, celebrate, and participate in these conversations.

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<p>Grounded in postmodern and social constructionist theories, this research was designed to challenge 'mainstream' views of social work practice. Three social workers with extensive backgrounds in various social work roles were asked to submit individual arts-based representations of 'alternative' social work. The arts-based representations (a story, a tool box, and a medicine wheel) were shared in a focus group where the topics of mainstream and alternative social work were collectively explored. I present an analysis of the representations, offer a brief structural narrative analysis of how the participants talked about mainstream and alternative social work, and explore the dissonance surrounding the term 'alternative social work.'</p> <p>The findings indicate that social workers who are interested in, or identify with alternative social work implement creative strategies to balance many, often conflicting, responsibilities and commitments. At the core of this study is a fundamental ideological tension in how social work is understood. The focus group revealed that what is commonly identified as 'alternative' social work, is judged by these research participants as 'good' social work. Rather than being a form of resistance to mainstream social work, alternative social work appears as a means of implementing participants' visions of effective, responsible and humane practice.</p> <p>This study highlights how social workers struggle to represent themselves and their (desired) practice in today's political context. Images of 'good practice' offer insight into how social workers can and do respond to neoliberal pressures; these images and participants' reflections on them have potential to widen public and professional consciousness.</p> / Master of Social Work (MSW)