Purpose: This article aims to represent three ethnographers researching an organizational event within academia: the Second International Congress of Qualitative Inquiry. It explores the divergent viewpoints of their ethnographic experiences as well as reflecting upon their relationships with each other as they attempted to understand each others’ viewpoints. Design/methodology/approach: This ethnographic project involved participant observation, full participation, and narrative interviews. However, as the project continued, it evolved to reflexively examining the authors’ own viewpoints and relationships challenges. Findings: This paper contributes to understanding ethnographic research of organizational events in several ways. First, it is an exemplar of how three ethnographers examining the same organizational event view it through differing lenses. Secondly, it shows how the authors worked together through the research, struggling to understand each others’ varied political and personal lenses through dialogue. Research limitations/implications: The research examined only one organizational event, therefore the findings are specific to this site and the same results may not necessarily be found in other organizations. Originality/value: This paper is unique in that three ethnographers from different generations and different political worldviews can come together for the purposes of research, examine an organizational event and learn to cooperate with and appreciate each others’ viewpoints.

As a result of the recent findings of the Women's Health Initiative (WHI), many women who have been on hormone replacement therapies (HRT) have begun to renegotiate their understandings and strategies of this stage of their lives. The WHI findings suggested that the risks of HRT outweighed the benefits for healthy menopausal women. This study examined women's emerging sensemaking regarding HRT and menopause in light of the WHI findings. Seven women in the Tampa Bay area, who were in various stages of menopause, participated in three focus group sessions and two one-on-one interviews to discuss their lives in menopause. Based upon the women's conversations, I constructed individual stories about each of the women. I included my voice in each step of the process, both participating in the focus group and interview discussions and inserting my voice in the women's stories as an interview and focus group participant. I analyzed the stories to determine categories in the w omen's emerging sensemaking. A theme of change emerged in terms of loss, decay, and decline. The women talked about change while discussing personal issues such as children, their bodies, aging, health concerns, and sex. Throughout their discussions, the women spoke about the contradictions and dilemmas they faced as they tried to sort through the conflicting and sometimes contradictory information they have been receiving about the effects of menopause and HRT on their bodies. Emily Martin's medical metaphors, Michel Foucault's ideas on discourse, and Watzlawick, Weakland, and Fisch's theory of change helped me understand the women's sensemaking. Many of the women framed their sensemaking within the biomedical model of health care, using what Martin called the body-as-machine metaphor, thereby making a first-order change, even though they changed from one HRT formula to another, from "synthetic" to "natural" HRT, or stopped taking HRT entirely. One woman appeared to make a secon d-order change. Overall, the women felt they had little to guide them as they determined how to take care of themselves in the menopausal stage of their lives.

When a writer, usually a woman, uses fairy tales as a veil through which to narrate a story of her life, I call this practice asymptotic autobiography. In mathematics, the asymptote is a straight line that a curve approaches increasingly closely, but never actually touches. I define “asymptotic autobiography” as a term for discussing any personal narrative that deliberately employs fiction in order to tell truth. In this inquiry, I examine the use of fairy tale language in giving voice to women writers’ autobiographical representations, using Zelda Fitzgerald’s novel and letters as the focus for my analysis. My research and critical analysis will examine how Save Me the Waltz, which Zelda Fitzgerald wrote while she was a psychiatric patient in the Phipps Clinic, uses fairy tales to provide a mapping of the many performances that autobiographical selfhood entails. By experimenting with open-ended fairy tale conventions instead of being limited by clinical truths, and by contextualizing her personal history in the realm of the imaginary, Fitzgerald removes her story from the psychiatric ward and places it safely in legend. The first three chapters of this dissertation show how, in sequence, the autobiographical self becomes free through the use of fairy tales in three stages: once the autobiographer has worked to separate herself from being bound by illness or clinical reality (Chapter One), she is free to make the decision of which self or selves she wishes to narrate and perform (Chapter Two); only once she has established her sense of self can the autobiographer then locate her plot, her map, and her narrative (Chapter Three). In Chapter Four, I offer an example of asymptotic autobiography in the form of a one-person play script that I wrote and performed about Zelda Fitzgerald’s life and hospitalization, using as a frame the fairy tale “The Swan Maiden.” This hybrid essay-performance combines the play script itself with personal writing of my own in which I describe the difficulties I had approaching and performing the rich material of Zelda’s life. / text

The question of the appropriateness and effectiveness of students' personal writing is a longstanding one in the academy. In composition studies, the ideological fight over personal and academic writing is most often represented by the oft-studied but rarely changed Bartholomae/Elbow debate. In literary studies, reader-response critics in particular have wrestled with the problems and possibilities of subjective interpretation. Yet despite scholastic interest in issues of personal writing, discussions have remained primarily theoretical and have relied mainly on anecdotal evidence. While small-scale case studies valuably illuminate the processes of an individual student or two, the conversation would be profoundly bolstered by empirical data. How common are personal responses, really? Further, while many believe that any presence of first-person pronouns signals personal, subjective writing, anecdotal cases suggest that there are several categories of personal writing, and that these different types of expressivism produce a range of rhetorical effects. The current study attempts to name and refine these categories--using the distinctions of General claim, Writer-based prose, Personal experience, and Personal claim—to begin to fill in this empirical gap. Is it a mistake to lump all use of personal reference into the category of "personal writing"? Would helping students distinguish between these varying types of personal references inform their stylistic and rhetorical choices? By reviewing a sample of 30 short papers written by college students in a general requirement literature survey course, I will examine how frequently--and in what ways--students reference themselves when responding in writing to a work of literature. / text

The Unaccustomed Vanishing Point is an exhibition of miniature paintings and installations that explore the irregular and fluid terrains of multicultural exchanges in India. Although drawing heavily from Mughal and Persian painting traditions, the paintings are rife with allegories of the postcolonial history, politics, and visual and material culture of contemporary India in the age of globalization. The installations, on the other hand, navigate the intersection of sensory experience and memory while simultaneously examining the dynamics of transnational experiences. Together they map the overlapping boundaries of the personal and social to probe into the complex interplay of cultural hybridity, class, and identity.

In my master’s project I investigated an interdisciplinary musical practice based on my artistic and educational background in art, music and philosophy. I chose one concept per discipline: non-idiomatic improvisation from the field of music, the non-productive attitude from art, and pluralist aesthetics from philosophy. I used the three concepts to find materials for my project: both musical materials, for example live improvisation and recordings, and non-musical materials, for example photographs and texts. The materials I found made up the components of a performative piece of music and became musical through contextualisation and metaphor. The photographs, recordings and texts were collected from different periods in my life and represented my interests, relations and values during my different educations. The ensemble that I assembled to perform the music consisted of people that were close to me on both a personal and professional level to emphasise that the music was based on my educational background and personal narrative. Initially I was less interested in the sonorous outcome of my project and I would have accepted it based solely on its interdisciplinary motivations. During my studies I realised that involving musical parameters to a greater extent enhanced the interdisciplinary and non-musical aspects of my project. An important learning outcome of my project was that focusing on the musical particularities of my artistic practice strengthened its interdisciplinary character. This is something that I wish to investigate further as a continuation of this project. / <p>Seduced by (a) last year (Larsson 2020) </p><p>Andreas Hiroui Larsson: composition, cymbals, drums, text, and voice</p><p>Johan Jutterström: saxophone, speaker, USB, and voice</p><p>Johanna Arve: beamer, speaker, USB, and voice</p>

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