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Race and the Micropolitics of Mobility

Mobile Autoethnography on a South African Bus Service

Bradley Rink

ibid., 9. 41 Andre Novoa, “Mobile Ethnography: Emergence, Techniques and Its Importance in Geography,” Human Geographies 9, no. 1 (2015): 97–107. 42 Michael Q. Patton, “Autoethnography,” in The SAGE Encyclopedia of Social Science Research Methods

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Towards Critical Analytical Auto-Ethnography

Global Pandemic and Migrant Women (Im)mobilities in Northern Ireland

Marta Kempny

This article discusses the usefulness of critical analytical auto-ethnography in studying migrant (im)mobilities in the context of the COVID-19 pandemic. Whereas the auto-ethnographic genre has boomed during COVID-19 times, the authors of auto-ethnographic texts usually focus on their own experiences of the pandemic, engaging in an evocative style of writing. Following an overview of autoethnographic writing genres, this article discusses complex issues of insider/outsider status in pandemic research. It calls for a critical and analytical auto-ethnographic approach to the study of migrations and mobilities in a context in which they are currently unevenly distributed.

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Self-Fashioning and Auto-Ethnography

Samuel Baron's Description of Tonqueen (1686)

Anna Winterbottom

Samuel Baron's A Description of the Kingdom of Tonqueen (1686) contains many tropes of the European travel narrative. However, its author was no stranger to the country, but was born to a Vietnamese mother and Dutch father in mid-seventeenth-century Hanoi. Here I discuss how Baron fashioned his identity during his life to attract multiple patrons in the unstable maritime world of Southeast and East Asia. I re-read his Description as an example of “auto-ethnography,” showing how the author shaped his work to achieve certain ends. A comparison with a contemporary Chinese description of northern Vietnam reveals many similarities in tone and approach and helps situate Baron's text within the commercial and diplomatic exchanges of the region.

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Each Female Fan Has Her Own Story

Three Fandom Autoethnographies

Tamar Rapoport and Efrat Noy

This article advocates autoethnography as a critical feminist methodology for using personal testimony to investigate women’s experience and performance of fandom The article’s centerpiece is an analysis of the personal testimonies of three women—researcher-fans of different ages—of a fan-owned club Hapoel Katamon Jerusalem. In addition to revealing women’s gendered-based experiences and the different ways in which women acquire and perform fandom, their personal stories prove valuable for exposing the gendered regime of the football field. Moreover, they reveal how women who are not fluent in the hegemonic language of fandom make their way in the fandom field as they seek their own voice and position in it. The analysis suggests that women’s participation can disrupt the hegemonic masculinity of fandom and challenge its established boundaries, thereby problematizing accepted definitions of the authentic fan.

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The irony of an ‘international faculty’

Reflections on the diversity and inclusion discourse in predominantly White institutions in the United States

Chenyu Wang

), Autoethnography as Method ( New York : Routledge ). Chen , Y. ( 2014 ), ‘ “Are you an immigrant?” Identity-based critical reflections of teaching intercultural communication ’, New Directions for Teaching and Learning no. 138 : 5 – 16 . http

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Performing compliance with development indicators

Brokerage and transnational governance in aid partnerships

Jon Harald S. Lie

Drawing on a semi‐autoethnography of a development project in northern Ethiopia, this article engages the role and power of indicators in the development sector. It both demonstrates and questions the power usually ascribed indicators when seen as an authoritative bureaucratic tool, while also showing how actors – and I was one of them – at various levels of the aid chain merely perform compliance with the indicators as a way to manage new and externally imposed demands. As the indicators ‘travel’ from the top, through the aid chain’s multiple nodes, to the level of beneficiaries, they convey policy priorities top‐down, but are seemingly complied with bottom‐up, demonstrating both their formative power and the scope for brokerage and manipulation of externally imposed policies. Interestingly, this form of brokerage and reactivity from below are also enabled and orchestrated by the top, i.e. by the same actors who conveyed the indicators, to maintain and reproduce aid relations.

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Encounters with borders

A migrant academic's experiences of the visa regime in the Global North

Priya Dixit

-based analysis, specifically autoethnography and counter-storytelling inspired by critical race approaches, to illustrate and examine questions of power and inequalities in the visa application process. It is motivated by feminist scholarship on race and

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Anxious Breath

An Autoethnographic Exploration of Non-binary Queerness, Vulnerability, and Recognition in Step Out

Lara Bochmann and Erin Hampson

the embeddedness and interdependence of our theoretical and experiential sense-making processes, autoethnography has been the method used for the analysis of the film Step Out because it allows us, as both producers and researchers, to “recognize the

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Michelle Bumatay

This article explores the strategies Gabonese cartoonist Pahé deploys to disrupt media-driven images of Africa in both his autobiographical series La vie de Pahé ['The Life of Pahé'] and the fictional series Dipoula, co-created with French cartoonist Sti. It focuses on the role of humor as a way to mock Western hegemony while exposing how sustained colonial logic informs Western representations of Africa. Using humor that thrives on misrecognition, Pahé thwarts readers' expectations and facilitates new possibilities for thinking through the relationship between Europe and Africa, while also drawing attention to the attendant relationship between Franco-Belgian bandes dessinées and other Francophone comics.

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Maureen Amimo

The history of travel writing positions the genre as a form that invents and circulates problematic image(s) of Africa. Emerging from this biased background, postcolonial African travel writing offer reimaginations regarding how to think about the continent differently. This article explores how Sihle Khumalo’s Dark Continent My Black Arse, performs this reimagination through counter-travel. I interrogate Khumalo’s appropriation of parody on three sites—naming, landscape, and the body—to counter the prevalent (mis)representation of the continent and propagate alternative ways of imagining Africa in travel writing. This article argues that although parody as counter-travel strategy is a poignant tool for critiquing the negative representation, authorial prejudices allow for slippages that propagate the same set of biases the form intends to critique.