反身诠释:后结构主义对应用戏剧研究的批判视角

IF 0.2 0 THEATER
Moema Gregorzewski
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引用次数: 0

摘要

在本文中,我将追溯定性应用戏剧作为研究(ATAR)方法的历史,以探索研究人员如何通过批判性后结构主义(CPS)方法来丰富他们对ATAR生成数据的分析和写作。RI是一种复合的方法,它考虑了四个层次的解释。首先,它要求研究人员考虑如何处理经验材料。其次,它鼓励研究人员分析他们如何使自己和读者意识到自己的解释行为。第三,它要求反思社会政治和意识形态背景如何影响研究工作。最后,它激发研究人员调查权威如何在数据和发现的表示中发挥作用,以及在最终研究成果的写作中。我将考虑牢牢扎根于CPS范式的RI方法如何使研究人员能够创建数据分析和表示,以充分描绘参与者在我们混乱且经常矛盾的后正常世界中的生活经历的复杂性。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Reflexive interpretation: A critical post-structuralist perspective on applied theatre as research
In this article, I will trace the history of the qualitative applied theatre as research (ATAR) approach to explore how researchers may enrich their analyses and writings about ATAR-generated data with a critical post-structuralist (CPS) approach to reflexive interpretation (RI). RI is a compound methodology that considers four levels of interpretation. First, it asks researchers to consider how they handle empirical material. Second, it encourages researchers to analyse how they make their acts of interpretation conscious to themselves and their reader(s). Third, it calls for reflection on how sociopolitical and ideological contexts shape the research endeavour. Finally, it provokes researchers to investigate how authority is at play in the representation of data and findings, and in the writing of the final research output. I will consider how an RI methodology firmly rooted in a CPS paradigm can enable researchers to create analyses and representations of data that adequately portray the complexities of participants’ lived experiences in our chaotic and often contradictory postnormal world.
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来源期刊
CiteScore
0.70
自引率
50.00%
发文量
6
期刊介绍: Applied Theatre Research is the worldwide journal for theatre and drama in non-traditional contexts. It focuses on drama, theatre and performance with specific audiences or participants in a range of social contexts and locations. Contexts include education, developing countries, business and industry, political debate and social action, with children and young people, and in the past, present or future; locations include theatre which happens in places such as streets, conferences, war zones, refugee camps, prisons, hospitals and village squares as well as on purpose-built stages. The primary audience consists of practitioners and scholars of drama, theatre and allied arts, as well as educationists, teachers, social workers and community leaders with an awareness of the significance of theatre and drama, and an interest in innovative and holistic approaches to theatrical and dramatic production, learning and community development. Contributors include eminent and experienced workers and scholars in the field, but cutting-edge contemporary and experimental work from new or little-known practitioners is also encouraged. This double-blind peer-reviewed journal has a global focus and representation, with an explicit policy of ensuring that the best and most exciting work in all continents and as many countries as possible is represented and featured. Cultural, geographical, gender and socio-economic equity are recognised where possible, including in the Review Board.
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