Submitted by ANA ELÍDIA TORRES null (annaelidia@hotmail.com) on 2016-02-28T15:17:38Z No. of bitstreams: 1 CÍRCULO DE CULTURA E ECONOMIA SOLIDÁRIA.pdf: 976482 bytes, checksum: 1db566d2dfbe3d3bb3fcda37028f776a (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-02-29T16:13:26Z (GMT) No. of bitstreams: 1 torres_ae_me_assis.pdf: 976482 bytes, checksum: 1db566d2dfbe3d3bb3fcda37028f776a (MD5) / Made available in DSpace on 2016-02-29T16:13:26Z (GMT). No. of bitstreams: 1 torres_ae_me_assis.pdf: 976482 bytes, checksum: 1db566d2dfbe3d3bb3fcda37028f776a (MD5) Previous issue date: 2016-01-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Este trabalho tem por objetivo investigar se o Círculo de Cultura, enquanto ferramenta de Educação Popular, pode contribuir para a afirmação dos princípios da Economia Solidária. Para tanto fizemos uma pesquisa de campo buscando averiguar possíveis impactos do Círculo de Cultura no cotidiano dos trabalhadores da Cooperativa de Catadores de Materiais Recicláveis de Assis e Região (Coocassis), que ocorreu com o grupo durante os anos de 2010 e 2011, e tinha como intuito potencializar os princípios da Economia Solidária. Para alcançar o objetivo desta pesquisa, realizou-se, nos anos de 2014 e 2015, um reencontro com o grupo de catadores em uma pesquisa de campo promovida pelo método etnográfico. Ao todo, foram dois anos de convívio com a Cooperativa durante a graduação, dois anos distante da Cooperativa e, por fim, mais dois anos de pesquisa. Dividindo didaticamente o trabalho em dois grandes encontros, temos: o primeiro com o passado, através do Diário de campo produzido lá e usado aqui como documento. E o segundo encontro no retorno à Coocassis, e no novo convívio com o grupo, realizado com visitas semanais. Como resultado disso vimos vidas reais que foram impactadas pela Economia Solidária, mas que mesmo trabalhando em uma cooperativa autogestionária, viviam grandes contradições pois ainda estavam submetidos a sociedade capitalista. Nesse sentido, pensar a Educação Popular e o Círculo de Cultura para o cooperativismo autogestionário e popular é fundamental para enfrentar as contradições que emergem das relações apresentadas ao longo do trabalho. / The purpose of this work is to investigate whether the Culture Circle, as a Popular Education tool, can contribute to the affirmation of the principles of Supportive Economy. To this end we did a field research seeking to investigate possible impacts of Culture Circle in the daily lives of workers from Recyclable Materials Collectors Cooperative of Assis Region(Coocassis), it happened to the group during the years 2010 and 2011, and it had the intention to enhance the principles of Supportive Economy. To achieve the objective of this research, in the years 2014 and 2015, a reunion with the collectors group was held in a field research conducted by the ethnographic method. In all, two years of living with the Cooperative during graduation two years away from the Cooperative and, finally , two more years of research. Didactically dividing the work into two major meetings , we have: the first with the past, through the Field diary produced there and used here as a document. The second meeting in the return to Coocassis , and the new association with the group , carried out weekly visits . As a result we have seen real lives that have been impacted by the Supportive Economy, but even working on a self-managed cooperative, lived great contradictions as they were still subject to capitalist society. In this sense, think of Popular Education and Culture Circle for self-managed and popular cooperativism is essential to face the contradictions that emerge from the relations presented throughout the work.

This thesis explores the use of reflective practice in osteopathic medicine and uses the method to narrate my work as an osteopathic practitioner. It explores the development of perceptual diagnostic judgments, and the role of metacognition, intuition and palpation in osteopathic clinical reasoning. A qualitative interpretive approach was used with a novel narrative method as an organising structure. This was broadly based around reflective practice models of Gibbs, (1988), Kolb, (1984) and Carper (1978) and the ideas of Schön (1983). Descriptive texts were constructed from notes taken of my thoughts whilst in the presence of patients. This allowed access, as closely as possible, to my decision making process. Finally, the descriptive texts were expanded into narratives through dialogue with the existing literature and peer review. The narratives were then analysed using thematic analysis to derive an understanding of concepts arising from the data. This thesis argues that osteopathic clinical reasoning involves multisensory perceptual diagnostic judgments that begin as soon as the patient enters the clinic, and arise as a result of the use of mental and visual imagery and embodied senses. The multisensory information that is detected by a practitioner activates pattern recognition, analytic reasoning and provides explicit feedback used in decision making. Diagnosis occurs as a result of piecing together and interpreting the multisensory information whilst maintaining awareness of other diagnostic possibilities. The findings also suggest that osteopathic clinical reasoning involves the supervision of cognition by the metacognitive processes of meta-knowledge (MK), meta-experiences (ME), and meta-skills (MS). The latter are used to plan, monitor, analyse, predict, evaluate and revise the consultation and patient management as suggested by Pesut and Herman (1992). ME is demonstrated by the presence of judgments of learning used to ensure sufficient information has been gathered, and feelings of rightness that are used to perceive the correctness of information arriving and decisions made. The use of reflective practice in this research has developed the understanding of osteopathic clinical reasoning, and demonstrated that it provides a powerful conduit for change in practice. As a result, it enables the provision of better patient-centred osteopathic healthcare incorporating the biopsychosocial model of healthcare. Although rooted in my own osteopathic practice style and strategies, it should have resonance for those within the discipline of osteopathy and has implications for osteopathic education, training and research.

Esta pesquisa visa analisar o trabalho imaterial de sujeitos usuários de dispositivos móveis convergentes. Para a compreensão do tema, estabelece-se uma retrospectiva histórica dos meios de comunicação, a partir do telégrafo. Desta forma, estuda-se a evolução dos media e recapitulam-se, inclusive, transformações tecnológicas que o telefone sofreu até o advento do smartphone. Posteriormente, para complementar a discussão, transformações sócio-culturais e político-econômicas decorrentes da pós-modernidade e da cibercultura são apresentadas. Essas reflexões auxiliam a investigação sobre a produção imaterial de sujeitos usuários de smartphones. Assim, os conceitos sobre império, multidão e trabalho imaterial são utilizados como marco teórico deste trabalho. Como procedimento metodológico a etnografia virtual é utilizada para analisar os impactos que os smartphones incutem no trabalho imaterial de sete sujeitos. Para isso, durante a coleta de dados foram aplicados questionários semi-abertos, entrevistas nãoestruturadas por MSN e SKYPE e diários de bordo com anotações dos indivíduos sobre os usos cotidianos que fazem dessas tecnologias digitais. Considera-se que a etnografia virtual é válida para estudos em cibercultura, pois permite que sejam realizadas observações sobre os sujeitos de análise, assim como uma descrição densa dos fenômenos investigados. Ainda, verificou-se que o biopoder do Império, através do uso de dispositivos móveis convergentes como os smartphones, interfere no trabalho imaterial dos indivíduos desta pesquisa. / The main objective of this research is to analyze the immaterial subjects that use convergent mobile devices. In order to understand the topic, we presented a historical background of the means of communication, starting it with the telegraph. Thus, we studied the media evolution and also the technological transformations that the telephone has undergone until the smartphone creation. Later, we presented social- cultural as well as political-economic changes trigged from postmodernity and ciberculture. Those reflections facilitated the investigation of the immaterial production of the subjects that used the smartphones. So, the concepts of empire, crowd and material work were the bases for this research. The methodology applied was the virtual ethnography used to analyze the impacts caused by smartphones in seven subjects’ immaterial work. In order to collect data, semi-open questionnaires and non-structured interviews were applied about the daily use of those types of digital technologies – this information was taken from MSN and SKYPE as well as the diary board annotations. We considered valid the virtual ethnography to carry out a research on ciberculture, since it allows the observations about the analyzed subjects as well as the description of the investigated phenomena. Besides, we also could verify that the Empire biopower, through the convergent mobile devices as smartphones, interfere with the subjects’ immaterial work.

Le présent travail porte sur une écoute sensible de la musique de l’enfance à l’école. À partir d’une approche ethnographique, la chercheuse a partagé pendant un an la routine ludique d’un groupe d’enfants de 3 à 4 ans d’une école de Porto Alegre (Brésil). La production du bruit a émergé telle une musique des cultures de l’enfance, avec comme interface de l’écoute la dimension fictionnelle qui envahit les temps libres de l’école et/ou ses brèches provisoires pour affirmer la nécessité ludique des enfants à témoigner que la musique opère aussi avec l’écoute, et pas seulement avec des sons. La vie réflexive et affective des différents Portraits Sonaires capturés sur le terrain a révélé la poétique de la production du bruit pendant l’enfance. Tous les enfants produisent avec insistance des bruits, ils vivent le discontinu comme une présence de la nature sonore en exposant des myriades d’explorations de la musique comme expérimentation, des jeux ou des récits sonores. Tous les enfants produisent d’incessantes cohérences musicales, en reproduisant de manière interprétative des formes musicales façonnées socialement, culturellement et qui recherchent une consonance reconnue par l’audience dans les repères sonores et dans les chansons (du menu scolaire, des parodies et de la presse). Certains enfants inventent des compositions-improvisations, en entonnant des singularités dans une configuration acoustique intentionnellement structurée à la manière d’une interprétation. Très vite, les enfants comprennent que la musique est un jeu sonore de règles en mouvement dynamique qui organise des mondes de sens, plaçant des éléments musicaux en relation avec des éléments culturels. / A presente tese escutou sensivelmente a música da infância na escola. Dentro de uma abordagem etnográfica, no campo da Sociologia da Infância, a investigadora viveu a rotina lúdica de um grupo de crianças da Educação Infantil (entre 3 e 4 anos), na cidade de Porto Alegre. O barulhar emergiu como a música das crianças, dimensão ficcional que invadiu os tempos livres da instituição escolar e/ou suas brechas provisórias para sublinhar que a música não operava somente com sons, mas também com a escuta. A vida reflexiva e afetiva dos distintos Jogos de Barulhar capturados no campo revelou a poética do barulhar na infância. Todas as crianças produziram insistentemente barulhadas, vivendo o descontínuo como presença da natureza sonora ao expor uma miríade de explorações com a música como experimentação, jogos de escuta ou narrativas sonoras. Todas as crianças produziram incansáveis coerências musicais, reproduzindo interpretativamente formas musicais emolduradas social e culturalmente, que buscavam uma consonância reconhecida pela audiência nos marcos sonoros e nas canções (do cardápio escolar, das paródias e da mídia). Algumas crianças inventaram composições-improvisações, ressoando singularidades dentro de uma configuração musical estruturada intencionalmente em performance. Ao experimentar viver as materialidades e resistências de seu corpo como sonoridade, as crianças demonstraram que fazer música é brincar, sendo especialmente tocadas pelas paisagens sonoras de seu entorno e pelos seus pares. Ao barulhar as crianças lançaram o corpo no movimento do sensível. Um movimento que integrou a simultaneidade e complexidade heterofônica do discurso sonoro, projetando o ser inteiro na intensidade da duração. Nesse ato a música instalava-se no corpo das crianças e ensinava o ouvido a pensar, aderindo à oralidade da voz que servia à diversão e à improvisação. Ao colocar elementos musicais em relação a elementos culturais, as crianças demonstraram que a música é um jogo sonoro de regras em movimento dinâmico, revelando a potência poética de escutar e experimentar materialidades sonoras na infância. / This dissertation has sensitively listened to childhood music in school. By means of an ethnographic approach, I lived the ludic everyday of a group of three and four-year old children during one year in the city of Porto Alegre. What I called “noising” came up as the music of childhood cultures. Through such noising, the children demonstrated the ludic necessity of underscoring that music does not operate only with sounds, but also with listening as the fictional dimension which pervades the free time lived in educational institutions and/or its occasional appearances. The reflexive and affective life of the various Noising Games witnessed in the research field revealed the poetics of noising in childhood. All children repeatedly produced noisings, experiencing discontinuity as a presence of the nature of sound while performing a great diversity of explorations with music as experiment, listening games or sound narratives. All children produced tireless musical coherences, interpretatively reproducing socially and culturally framed musical forms which search for a consonance recognized by the audience in sound marks and in songs (of the school menu, parodies and the media). Some children made up compositions-improvisations, resonating singularities within an acoustic configuration deliberately structured during the performance. By experiencing the materialities and resistances of their bodies as sound, the children demonstrated that making music is playing, and were especially touched by the sound landscapes found around them and by their peers. When the child’s body noises, it is summoned to act and open itself to the becoming which exists in each and every way of transfiguring whatever is experienced, by dealing with processes of estrangement, investigation and experimentation which arise in the blend of languages inhabiting the body. Children understand music as a sound game of rules in dynamic movement, which organizes worlds of meaning, relating musical to cultural elements.

Esta dissertação trata de estratégias usadas por três professoras de dança, na sua prática pedagógica, para que seus alunos cheguem à presença cênica. O material empírico foi constituído a partir de uma pesquisa de inspiração etnográfica, realizada nas aulas de dança das professoras Dagmar Scherer Dornelles, Luciana Paludo e Simonne Rorato, em Porto Alegre. Foram observadas oito aulas de cada professora, realizou-se entrevista com cada uma delas e fez-se um registro fotográfico. Discutem-se as estratégias pedagógicas utilizadas como modo de atingir a presença cênica. Expõemse três eixos de análise para tornarem visíveis essas estratégias: eles dizem respeito 1. às ações cotidianas e às ações ritualizadas que são observadas nas aulas; 2. à consciência como um modo de presença, a partir dos usos de diferentes cuidados com o corpo; e, 3. às estratégias que vão além das questões técnicas. Esta dissertação sugere, ao finalizar, que as estratégias usadas pelas três professoras, sujeitos desta pesquisa, configuram modos contemporâneos de ser professora de dança. / The following dissertation discusses pedagogical strategies used by three teachers of dance to make their pupils obtain scenic presence. The empirical material was constituted by a few observations of classes of dance teachers (Dagmar Scherer Dornelles, Luciana Paludo and Simonne Rorato) of Porto Alegre, Rio Grande do Sul, Brasil, in the form of a ethnographic journal. Eight lessons of each teacher had been observed, carried through an interview with each one of them. It was made a photographic register. The text analyzes those pedagogical strategies - considered as a way to obtain scenic presence - from three axles: 1. everyday and ritualized actions as observed in the lessons; 2. the consciousness as a way to the presence - that would be obtained from the use of different cares with the body; and, 3. other kinds of strategies - not only technical. The text suggests that the pedagogical strategies used by those three teachers of dance designs contemporary forms of being dance teacher.

Em uma investigação das práticas torcedoras presentes em um estádio de futebol, esta pesquisa aborda a formação de memórias como elemento produtor de sujeitos. Estes torcedores mantêm vínculos muito particulares com o futebol e com uma instituição inserida no modelo de futebol de espetáculo, considerando-se a relação torcedor-torcedor e torcedor-clube. Com especial atenção aos rituais que acontecem antes, durante e depois dos jogos, o estudo traz a tona quais os dispositivos de memória são construídos a partir desses rituais. Com o auxílio da participação observante, é identificado como os torcedores do Grêmio Esportivo Brasil se relacionam e se manifestam no estádio do clube. Diante das singularidades da memória coletiva produzidas pelos torcedores – como em um jogo no ano 1946 – foram se construindo elementos que passaram a nomear a torcida através da figura do “índio xavante”. A violência e fidelidade que estão contidas nesse símbolo são produções que rondam os torcedores xavantes e com o tempo se alteram e são acessados por meio das práticas dos torcedores. Partindo da memória como elemento norteador do processo investigativo e analítico, o investimento nesta pesquisa se faz por meio de práticas sociais que toma o estádio de futebol e as práticas educativas relacionadas ao torcer como elemento de análise, tendo como foco as interações entre o fazer ciência e a produção dos sujeitos. Além disso, visa compreender como os discursos e as práticas atuam na produção de "verdades" e dos sujeitos – no caso desta pesquisa, os torcedores xavantes –, engendrados através das práticas da memória. Enfrentada pelo único limite que é a morte dos indivíduos, a memória social dos torcedores xavantes ocupa um espaço privilegiado para se pensar suas práticas torcedoras atuais. Após a criação de vínculos com o clube, realizadas por práticas cotidianas que se defrontam os sujeitos no estádio, o pertencimento clubístico parece demarcar fortemente o que se esquece e o que não se quer esquecer. Através da ligação entre torcedores e clube, encontrada em uma rede sociabilidade que é constituída dentro do Grêmio Esportivo Brasil, os torcedores se reconhecem como sujeitos torcedores deste clube. / In an investigation of fans practices in a football stadium, this research approaches the formation of memories as a subject’s producer. These fans are closed and keep special link with football and an institution in the soccer spectacle model, considering the relationship between fan-fan and fan-club. With special attention to the rituals that occur before, during and after the games, the study brings out which mechanisms of the memory are constructed from these rituals. With the help of observatory participation, is identified how the fans of Grêmio Esportivo Brasil are related and manifests themselves in the football stadium. The collective memory peculiarities produced by the fans - as in a game in 1946 - were built elements that configure the Xavante Indians simbols. Violence and loyalty that are contained in this symbol Xavante are fans productions which changes by time and are accessed through the practices of the fans. Starting from the memory as a guiding element of investigative and analytical process, the investment in this research is done through social practices that take the football stadium and educational practices related to support as analysis element, focusing on the interaction between doing science and production of subjects. Moreover, it aims to understand how discourses and practices operate in the production of “truths” and subjects – in the case of this research, xavante’s fan – engendered through memory’s practices. Faced by the only limit that is the death of individuals, the social memory of Xavante’s fans occupies a privileged space to think about their current fans practices. After the establishment of links with the club, made by everyday practices faced by subjects in the stadium, belonging to a club seems to strongly demarcate what is forgotten and what you do not want to forget. Through the connection between fans and club, found in a sociability’s network that is formed within Grêmio Esportivo Brasil, the fans recognizes themselves as subjects fans of this club.

Submitted by Ana Carla Almeida (ana.almeida@ucsal.br) on 2016-09-26T19:11:04Z No. of bitstreams: 1 AMORIM, RC-2016.pdf: 4512463 bytes, checksum: 1bad1a17cec6ba485ce3300488e7745e (MD5) / Approved for entry into archive by Maria Emília Carvalho Ribeiro (maria.ribeiro@ucsal.br) on 2016-09-29T22:12:31Z (GMT) No. of bitstreams: 1 AMORIM, RC-2016.pdf: 4512463 bytes, checksum: 1bad1a17cec6ba485ce3300488e7745e (MD5) / Made available in DSpace on 2016-09-29T22:12:31Z (GMT). No. of bitstreams: 1 AMORIM, RC-2016.pdf: 4512463 bytes, checksum: 1bad1a17cec6ba485ce3300488e7745e (MD5) Previous issue date: 2016-05-12 / A presente pesquisa visa compreender a vivência do adoecimento e da hospitalização para o grupo familiar, a partir dos seus integrantes e dos/as trabalhadores/as de saúde que desenvolvem atividade de cuidado na clínica médica de um hospital público do interior da Bahia. Ancorada numa perspectiva interdisciplinar, a pesquisa segue uma abordagem qualitativa, centrada em observações participantes, entrevistas e escuta sensível que deram suporte à realização de uma etnografia das interações na clínica médica. Participaram 14 famílias e 17 trabalhadores/as da clínica, sendo incluídos familiares acompanhantes que exerciam a atividade, a partir de 48 horas na clínica, e excluídos familiares acompanhantes que recebiam proventos e cuidadores particulares. As observações foram realizadas no hall do hospital, no corredor, no posto de enfermagem e nas enfermarias, totalizando oito meses de observação sistemática. Os dados coletados foram tratados metodológica e epistemologicamente como narrativas, dentro de uma perspectiva biográfica, a partir da combinação de informações obtidas, originando as “narrativas das narrativas”. Foi possível a sustentação do enfoque biográfico na (re)elaboração narrativa dos dados coletados, evidenciado pela experiência vivenciada de modo inteiro. Como resultados da etnografia e a partir da compreensão de que o hospital é um cenário de dramas, foram revelados aspectos das redes de apoio interfamiliares, da fé como mobilizadora de força para o enfrentamento do adoecimento e da internação, bem como uma série de situações motivadoras de tensões e conflitos na enfermaria. O posto de enfermagem apresentou-se como lugar da expressão do corporativismo, das hierarquias, mas também das pilhérias. A análise das interações aponta ainda para a dimensão de “cuidado” implicada na ação comunicativa. Das narrativas das famílias sobre a experiência do acompanhamento na hospitalização emergiram três categorias relevantes: “o acompanhar e cuidar como conforto mútuo”; “o acompanhar e cuidar como um ato de amor”; “o acompanhar e cuidar como obrigação”. A pesquisa indica a importância de investimentos em novos estudos etnográficos no hospital que envolvam a família, colocando em relevo este grupo que integra o cenário hospitalar. / The present research aims to understand the experience of illness and hospitalization for the family group from their integrants and healthcare workers who develop caring activity in the medical clinic of a public hospital within Bahia. Anchored in an interdisciplinary perspective, the research follows a qualitative approach, focused on participant observation, interviews and sensitive listening that supported the holding of interaction ethnography in the medical clinic. Participants were 14 families and 17 workers of the clinic, including accompanying family members who performed the activity, from 48 hours in the clinic, and excluding accompanying family members receiving income and private caregivers. Observations were carried out in the hospital lobby, in the hall, at the nursing station and in the wards, totaling eight months of systematic observation. Collected data were treated methodologically and epistemologically as narratives, within a biographical perspective, from the combination of obtained information, originating the "narratives of narratives”. Biographical focus support was possible on narrative (re)elaboration of the data collected, as evidenced by the lived experience as a whole. As ethnography results and from the understanding that the hospital is a setting of dramas, inter-family support network aspects were revealed, faith as a mobilizing force to face the illness and hospitalization, as well as a series of motivating situations of tensions and conflicts in the infirmary. The nurses' station has been presented as a place of corporatism expression, hierarchies, but also of jokes. Interactions analysis still points to the dimension of "care" involved in communicative action. Three important categories emerged from families’ narratives on the hospital follow-up experience: "follow-up and care as mutual comfort"; "follow-up and care as an act of love"; "follow-up and care as an obligation." Research indicates the importance of investments in new ethnographic studies in the hospital that involve the family, highlighting this group that integrates the hospital setting.

abstract: In this thesis, I examine the inclusion of American Indians as museum subjects and participants in Charles Willson Peale's Philadelphia Museum. To determine the forces that informed Peale's curatorship, I analyze Peale's experiences, personal views on education and scientific influences, specifically Carl Linnaeus, George-Louis Leclerc, Comte de Buffon and Thomas Jefferson. Peale created a polarized natural history narrative divided between Anglo-Americans and races that existed in a “natural state.” Within the museum's historical narrative, Peale presented Native individuals as either hostile enemies of the state or enlightened peacekeepers who accepted the supremacy of Americans. Peale's embrace of Native visitors demonstrated a mixture of racial tolerance and belief in racial hierarchy that also characterized democratic pedagogy. I derive the results by examining Peale's correspondence, diaries and public addresses, as well as administrative documents from the museum such as accession records, guidebooks, lectures and museum labels. I conclude that although Peale believed his museum succeeded in promoting tolerance and harmony among all cultures, his message nevertheless promoted prejudice through the exaltation of “civilized men.” By studying the social and intellectual constraints under which Peale operated, it is possible to see the extent to which observation of and commentary on ethnic and racial groups existed in America's earliest public culture and shaped early American museum history. Contemporary museums strive for cultural preservation and tolerance, therefore analysis of Peale's intentions and effects may increase the self-awareness of today's museum professionals. / Dissertation/Thesis / Masters Thesis History 2015

abstract: This dissertation presents a new tool for analysis of the way difficult experiences or phenomena influence the process for constructing self-identity in the performance of everyday life. This concept, refraction, emerged as part of a grounded theory methods analysis of ethnographic fieldwork conducted in Itacaré, Bahia, Brazil from January to July 2014. The work here contributes to the field of performance studies as a possibility for examining how affective responses to difficult experiences contribute to a shift in perspective and subsequently shifts in the performance of self in everyday life. This research was conducted with critical and reflexive autoethnographic methods in order to hold the research accountable for the ways subject position influences the research. In this case the most salient theme that emerged from these autoethnographic methods was an unpacking of unacknowledged tourist privilege in this setting. The resulting work-in-progress performance will offer ways for spectators to question their own assumptions regarding tourist privilege in Brazil, and in so-called developing countries in similar tropical climates. An additional contribution to the field of performance-based research that resulted from this dissertation is the articulation of a dynamic locus of creativity wherein rigorous established qualitative research methods complement creative practices in conjunction with a spectrum of tacit knowledge and theoretical sensitivities. This juncture becomes the theoretical space where creativity in research can be articulated in ways that are legible to both artists and researchers. / Dissertation/Thesis / Doctoral Dissertation Theatre 2015

abstract: This project is an institutional ethnography (Smith, 2005, 2006) that examines the lived experiences of nine second language (L2) writing teachers, specifically with regard to the interpersonal, material, and spatial relationships inherent in their work. Using interviews, focus groups, and a mapping heuristic for data collection, the study investigates the current culture of L2 writing that is (or is not) created within this specialized community of practice (Lave & Wenger, 1991) and the individual participant motivations as actors within a complex and dynamic network (Latour, 2007). Because findings from the study are relevant for a variety of fields and audiences, the dissertation is separated into three freestanding but interrelated articles. Article one focuses on the data of one participant whose teaching roles/ranks in the writing program shifted over time: from graduate teaching associate to part-time adjunct faculty member to full-time non-tenure track writing instructor. Article two uses all nine participants’ data and focuses on their perceptions of and experiences with L2-specific teacher training. Results share the perceived benefits and drawbacks of teacher training to specialize in working with multilingual student populations considering various material conditions present in the institution. In addition, the article locates additional programmatic spaces where professionalization happens (or can happen), and ultimately assesses and questions the justification of specialization of teachers within the writing program and where that specialization can/should occur. Article three reflects on a specific data collection technique—a mapping heuristic—and discusses the ways in which this method is beneficial, not only for observing the different connections that L2 writing teachers create in their work lives, but also for collecting data in any institutional ethnographic study. While these three articles are intended to be independent of one another, together they comprise a dissertation-length institutional ethnographic inquiry that demonstrates the diverse voices, motivations, and experiences of second language writing teachers that inform the decisions made in an institution known as a writing program. WPAs can use the knowledge and takeaways gained in the study to learn more about how to support and advocate for this important stakeholder group. / Dissertation/Thesis / Doctoral Dissertation English 2016