, articulated by Cixous as a kind of writing in the feminine, is a writing practice that she urges others to partake in so that they might be able to subvert the violence of the oppressive, specifically phallogocentric systems, in which they find themselves. Cixous imagines that writing in the feminine might enable a transformation of representation itself, thus providing the opportunity for a more ethical, open relation between the self and the other through which phallogocentric systems might be reconfigured. Within this article, écriture féminine guides the methodology
203 13 Writing for research and evaluation Chapter summary This chapter includes: • Some myths about writing, debunked • Information and advice about the writing process • Thoughts on how to structure writing • Plagiarism and how to avoid it • How to cite others’ work • The difference between research findings and evaluation recommendations • Advice on editing and polishing your writing Introduction Although writing has a chapter all to itself in the second half of this book, it is not a discrete activity that happens late in the research or evaluation process
In a neoliberal academia dominated by masculine ideals of measurement and performance, it is becoming more important than ever to develop alternative ways of researching and writing.
This powerful new book gives voice to non-conforming narratives, suggesting innovative, messy and nuanced ways of organizing the reading and writing of scholarship in management and organization studies. In doing so it spotlights how different methods and approaches can represent voices of inequality and reveal previously silenced topics.
Informed by feminist and critical perspectives, this will be an invaluable resource for current and future scholars in management and organization studies and other social sciences.
This groundbreaking book brings creative writing to social research. Its innovative format includes creatively written contributions by researchers from a range of disciplines, modelling the techniques outlined by the authors. The book is user-friendly and shows readers:
• how to write creatively as a social researcher;
• how creative writing can help researchers to work with participants and generate data;
• how researchers can use creative writing to analyse data and communicate findings.
Inviting beginners and more experienced researchers to explore new ways of writing, this book introduces readers to creatively written research in a variety of formats including plays and poems, videos and comics. It not only gives social researchers permission to write creatively but also shows them how to do so.
Introduction The purpose of this chapter is to explore the ethics of writing, informed by an insider– outsider researcher position that argues for a decolonial engagement. The discussion focuses on writing as a method of inquiry and the ways writing about COVID-19 can be decolonized. This is significant beyond writing about COVID-19 as it questions how research participants are included or not included in research writing and for whom we write. As such, I argue for a reimagining of research participants’ role and place in written research outputs. The
In this chapter, I now turn to writing differently in terms of the content of our researching and writing practice. Alison Pullen writes: ‘I write to speak. Writing extends me, it reaches well beyond the confines of myself. At a very basic level, I would like my writing to speak from me, of me, when I am able to’ ( Pullen, 2018 , 123). Indeed, writing extends us and helps us to reach beyond ourselves and the current status quo. This chapter explores key aspects of this by discussing some examples of Writing Differently and writing differently – as a movement
17 2 Doing creative writing Introduction Social researchers of all stripes are, of necessity, also writers. We write research proposals, funding bids, ethics applications; research reports, journal articles, book chapters; theses, dissertations and books; newspaper articles, blog posts and emails; the list goes on. We choose words to put together into sentences and paragraphs that nobody else has written. Whether or not we are specifically using creative writing techniques, this is a creative process. That said, some social researchers write more creatively
121 SEVEN Writing for research Introduction Writing is the one art form with which all researchers must engage. Sadly, many researchers ‘are not willing or able to write engaging prose’ (Ellingson 2009: 57). Traditional research writing is ‘depersonalized and alienating’ (Gergen and Gergen 2012: 50) and some academics, in particular, write in such a ‘dense and convoluted’ style that their ideas are hard to grasp (Jones and Leavy 2014: 6). But it does not have to be like that. This chapter aims to help you write creatively and well. Also, a number of useful
173 5 Searching and queer(ing) writing Don’t come to conclusions. Come to other things: inquiry, questions, failure, side roads, off-road. (Waite 2019:48) In my end is my beginning. (T.S. Eliot, Four Quartets, 1944:27) Introduction Creative writing presents social researchers with challenges and opportunities. Writing – more than simply ‘writing up’ – is a form of enquiry in its own right, a means of searching and questioning, exploring and understanding the social world. Moreover, creative writing has radical possibilities for social research, unsettling
PART I Researching and writing differently today
