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This paper aims to explore the nature of Work–Life Balance (WLB) policies offered within a developing country (Gaza; Palestine) by two telecommunication companies. Firstly, the cultural context is described, in which two semi-public companies have developed a particular set of family-friendly policies, which have attempted to serve the needs of employees of a country enduring blockade and bombardment. Then, ideas are developed exploring why the adoption of Work–Life Balance (WLB) policies in these organisations may have taken a particular pathway. Using the value assumptions of an Islamically informed critical realist approach, qualitative studies have been undertaken in which 20 managers and 42 employees (one third female) have been interviewed in two semi-public companies during a time of turbulence (2015 to 2021) in the political economy of Gaza. These interviews have been subjected to systematic qualitative analysis and interpreted from the methodologies of critical realism and auto-ethnography. The reasons for the provision of WLB benefits identified by respondents were often different in kind and degree from those found in studies in Western countries. These assumed reasons also differed between managers and professional employees. Generally, WLB benefits supported women in an Islamic and Arabic culture in ways which were resonant with cultural settings, but which also reflected local political and union pressures, government regulations, and international influences. The reasons for the provision of WLB benefits identified by respondents were often different in kind and degree from those found in studies in Western countries. These reasons also differed between managers and professional employees. Generally, WLB benefits supported women in an Islamic and Arabic culture in ways which were resonant with cultural and religious settings. This study, the first of its kind in a Muslim, Arabic culture deserves replication with both qualitative and quantitative methodologies.

The pressing problems we face from wars to pandemics erupt against the less dramatic background of the mundane continued destruction of our planet as a habitable realm. In education, technology can be environmentally destructive in a variety of ways. Educators may feel the urge to address these matters but we also know that EdTech solutionism can create new problems as fast as it fixes old ones. Something in the urgency of the fix may be the problem. It may be that we are too desperate to fill a hole in the world that we only see through a hole in ourselves. Hence, in order to truly escape our colonised and domesticated fates, we need to rewild our very thinking. We need to examine the underlying emotional tones and waves that cause us to act as we do against our own interests and that of our planet. This conundrum is explored here through the device of storytelling using a multimodal speculative auto-ethnography to push into realms beyond mere utility and out into conceptual wilds. No fixes or solutions are offered here for the planet. Lifeless celestial objects such as the sun and moon loom large by contrast. Both have walk-on parts in this tale, and watch us as we watch them, with whatever love and kindness we can.

Anhand einer Analyse von autoethnografischen Tagebucheinträgen zur Nutzung digitaler Technologien wurde die Morgenroutine von Studierenden rekonstruiert. In den Blick wurde Art, Dauer, Intensität und Häufigkeit der Nutzung genommen und eine dichte Beschreibung angefertigt. Die Forschungsfrage war, ob es sich bei der Morgenroutine um eine digitale Praktik handelt. Im Ergebnis kann die Morgenroutine als digitale Praktik gefasst werden, die erstens auf dem Wunsch nach Gemeinschaft fußt und zweitens zur Informationsaneignung dient. Ebenfalls wurde festgestellt, dass einige Teilnehmenden eine Verhaltensanpassung wie einen bewussten Routinedurchbruch im Rahmen des Seminars vollziehen, um der Routine entgegenzuwirken. Zudem kommt es aufgrund externer Einflüsse zu Veränderungen von Routinen. Based on an analysis of auto-ethnographic diary entries on the use of digital technologies, the morning routine of students was reconstructed. The type, duration, intensity and frequency of use were examined and a dense description was drawn up. The research question was whether the morning routine is a digital practice. As a result, the morning routine can be seen as a digital practice that is firstly based on the desire for community and secondly serves to acquire information. It was also found that some participants adapt their behavior, such as a conscious breakthrough in routines, in the course of the seminar in order to counteract the routine. In addition, there are changes in routines due to external influences.

Food banks are a growing feature of austerity Britain. Despite this, little research has focused on the object central to their operations: the food they provision. In charting an attempt to “open” food bank parcels to greater scrutiny, this article highlights the need to take back taste from predominantly nutritionist framings of food. Drawing on recent work in more-than-representational and visceral geography, it is argued that taste must be understood as an embodied, sensorial and social phenomenon. However, this article highlights the ethico-political dilemmas that accompany such an undertaking, and the wider implications raised by studying the tastes of socially and economically marginalised groups. These tensions are explored through recourse to the political, ethical and epistemological stakes of auto-corporeal methods – in this case, employing my own tasting body in consuming a “food bank diet.” In arguing that such an approach is necessarily wedded to forms of failure and privilege, this undertaking reveals the need to scrutinise the more-than-tasted features of power and space that shape the relational landscapes of Food Bank Britain. By working with these failures, this article concludes that the potential of such corporeal methods lies not in producing “data,” but instead in unlearning and scrutinising one’s embodied privileges in the face of poverty.

This article explores the literary writing of ethnographers, a genre that has not yet been systematically researched in Polish sociocultural anthropology. The theoretical framework of the article is built on the concepts of reflexivity and auto-ethnography. Its main goal was to trace these issues in three texts of female Polish ethnographers in the first half of the twentieth century. These authors represent three different structural situations in the field: a European researcher in a colonial context (Maria Czaplicka), a member of the intelligentsia studying peasants (Kazimiera Zawistowicz-Adamska), and an amateur “native ethnographer” in her own community (Maria Pilchówna). One of the results of the analysis is inventing the concept of “emphatic hegemony” grasping the situation when an empathic and sympathetic observer can be also a dominant and patronizing writer, even if she is a woman. Another feature of the analyzed texts lies in their patriotic subtext.

“Cell-Out” is a performance, a collaborative investigative enactment of physical, spatial, and communicative mobility in urban areas, and an exploration of walking in the digital city through shifts of space, attention, and time. Claudia Brazzale and Leslie Satin approach walking as dancers whose embodied practices are based largely in Western contemporary dance techniques and somatic / contemplative forms, including early post-modern dance's cultivation of pedestrian movement; their scholarly work is grounded in autobiography and auto-ethnography. The piece centers on a series of compositional scores in which each writer directs the other toward specific actions, places, and areas of focus. Other parts of the piece contextualize and arise from these scores, weaving through the authors' scholarship on dance and space and flowing into their art lives and personal experience. Brazzale's and Satin's explorations of walking and writing as experiential, affective, digressive, phenomenological, anatomical, performative, mnemonic, and analytical emerge from and create a kind of double memoir, enacting their long-term, long-distance relationship and acknowledging the digital tools that support and (re)produce their intimacy--even as the Coronavirus pandemic, which erupted as they were completing their piece, dismantled intimacy worldwide.

The importance intercultural communicative competence plays in contemporary education of foreign languages has provided the latter with an approach that is frequently termed intercultural education. Nevertheless, the topic is still quite controversial, to say the least, and especially so in respect to issues related with the evaluation of intercultural communicative competence. In addition to the difficulties of defining the concept and criteria for its evaluation, we need to address the fundamental question of whether it is possible to evaluate intercultural competence at all, and, if this is the case, whether it is moral to do so. Here we explore the case of Serbia and a project whose goal was to define the standards of competence for foreign languages in formal primary education. As a member of the working group, and thus with the privilege of an insider’s perspective, I analyse the steps that were followed in the development of the standards for intercultural competence. This auto-ethnographic exposition aims at offering a critical analysis of intercultural competence in the curricular documents of foreign languages, but also at providing a space for reflection and self-evaluation.

ion of the narrativeThe paper aims to evoke readers’ reflective and affective capacities and thereby facilitate understanding of the multisensorial, affective, and relational nature of knowing and becoming. It highlights the role of embodied knowing in becoming by following the journey of an individual faced with sudden trauma. It describes the affective energies crossing time and space in the continuously changing sociomaterial networks of relationships encountered in different organizational settings, be they in academia, health and social services, family, or otherwise. The paper is based on an auto-ethnographic narrative of becoming a mother that connects individual experiences with cultural understandings. The narrative is an outcome of a diffractive analysis of becoming; knowing emerges during the course of a writing process in which theoretical understandings, emotions, concepts, discourses, embodied experiences, and affects come together. The paper brings out the multiplicity of contradictory discourses involved in knowing and becoming. In so doing, it highlights the entangled coexistence of body and mind, reality and imagination, public and private, reason and emotion, as well as past, present, and future.

Scholars are increasingly expected to share their knowledge through different media besides the written publication but struggle to do so. How might they teach their students the skills to do so? This article argues that Practice as Research, developed by practitioners venturing into academia, provides a useful framework to shape research outcomes into, for instance, video essays or interactive narratives. It is especially valuable to undergraduate students aiming to increase their knowledge and understanding of media through practical work, as it trains both practical and academic skills. This gives Practice as Research an added value in academic media studies curricula. This article is based on a case study of an advanced practical course for film and television students at Utrecht University and relies on course assignments, feedback conversations and auto-ethnography. As this article was authored by the course lecturer and two students, it provides insight from multiple perspectives.

To unravel the complex challenges addressed by design, oftentimes it can be necessary for researchers to participate in design processes rather than make observations from outside. However, ‘participation’ has different meanings in different kinds of design research, and research outcomes will depend on the form of participation chosen. Through a Dimensional Analysis, we establish seven dimensions on how participation in design research can be classified in terms of 1) the researcher-designer role, 2) the aim of the project, 3) the main contribution, 4) the activities of the researcher, 5) if it is a single or multi-case study, 6) the scientific reporting on the project, and 7) the kind of knowledge produced. This overview aims to assist researchers in communicating how choices for a particular participatory approach contribute to knowledge production in design research.

Jest to tekst osobisty, relacjonujący moje własne doświadczenia związane ze śląszczyzną w jej wersji cieszyńskiej - moim językiem ojczystym, z późniejszym wypieraniem jej z mojego życia przez hegemonię polszczyzny, a następnie świadomym wracaniem do śląskiej mowy, co jest nie tylko gestem lingwistycznym, lecz także tożsamościowym i politycznym. Autoetnografię rozumiem za Carolyn Ellis jako praktykę badawczą i pisarską "ączącą to, co autobiograficzne i osobiste, z tym, co kulturowe, społeczne i polityczne" (Ellis 2004: XIX), opierającą się na emocjach, introspekcji, ucieleśnieniu i wyrażającą się w różnych konwencjach literackich. W drugiej części artykułu przedstawiam także regularną analizę problematyki związanej ze śląszczyzną, odwołując się do literatury przedmiotu i współczesnych koncepcji teoretycznych. Skupiam się na kwestii performatywności języka, teorii grup wyciszonych, problemie odróżniania języków i gwar jako kwestii politycznej; proponuję ujmowanie cieszyńskiej rzeczy jako modalnej wersji śląszczyzny. Mój projekt traktuję jako "krytyczną interwencję w życie społeczne, polityczne i kulturowe" (Holman Jones 2009: 175). This is a personal text relating to my own experiences referring to the Teschen version of the Silesian language - my native tongue - its later removal from my life by the hegemony of Polish, and then my conscious return to Silesian, which is not only a linguistic gesture, but also a political and identity declaration. Following Carolyn Ellis, I understand auto-ethnography as a research and writing practice "that connect the autobiographical and personal to the cultural, social, and political" (Ellis 2004: XIX), based on emotions, introspection, and embodiment, and expressed in various literary conventions. In the second part of the paper I present a regular analysis of the issues related to the Silesian language referring to the subject literature and contemporary theoretical concepts, and focus on the issue of language performativity, muted groups theory, the problem of distinction between languages and dialects as a political issue, and my proposal to treat the Teschen tongue as a modal version of the Silesian language. I treat my project as "critical intervention in social, political and cultural life" (Holman Jones 2009: 175).

* “Chó bò” is the approximate Vietnamese homonym for “trouble.” Bluntly translated, “chó~bò” is a “dog~cow” or “dog~crawl.” This absurdist linguistic joke for many Vietnamese people learning English represents a capacity to make trouble. This PhD thesis comprises original research and artistic work made with my family. As people from the Vietnamese diaspora, our experiences are formed by dispersals and estrangements as settler-colonists in Australia. Our daily encounters in the realms that this thesis is focused – contemporary art, academia, and family enterprise, are folded into distinct systems of colonial power and violence. I often make work with my family in video-performance and the documentary medium. Our inter-generational, political, and language differences add to the conceptual complexity of what it means to collaborate, make art, produce archives, and confront our position as recent settler-colonisers in Australia. This thesis aims to address how our artistic collaborations utilise linguistic and archival approaches to articulate the systemic racism we encounter as people from a refugee background, but who are also embedded in the colonial infrastructures of our new home. Aligning with thinkers including Gloria Anzaldúa and her critique of coloniality, to Gayatri Chakravorty Spivak and Hito Steyerl on minoritarian forms of translation, and Sara Ahmed on racism in the university - this thesis describes how collaborations with my family can trouble the contradictions of colonial power enacted on our human relationships. Reconnecting with individual members of my family through art, I have gained a better understanding of my language and culture, as well as finding important artistic and political connection to my peers. Collaborating with my family has forced me to rub against the researcher-participant/research subject binary, the archival visibility of being invisible, the rhetoric of institutional inclusion, and the weight of being displaced and displacing colonisers on this continent. The work we have produced together methodologically uncovers and critiques the opaque confrontations of institutional power, racism, and colonial violence embedded in the everyday. As a family, we continue to make uncomfortable pronunciations like “chó bò,” producing the epistemic trouble needed to face the colonial realities of our resettlement. ARTWORK WEBSITE: https://chobotrouble.com/

Background To increase the uptake of research evidence in practice, responsive research services have been developed within universities that broker access to academic expertise for practitioners and decision-makers. However, there has been little examination of the process of knowledge brokering within these services. This paper reflects on this process within the AskFuse service, which was launched in June 2013 by Fuse, the Centre for Translational Research in Public Health, in North East England. The paper outlines the challenges and opportunities faced by both academics and health practitioners collaborating through the service. Methods The authors reflected on conversations between the AskFuse Research Manager and policy and practice partners accessing the service between June 2013 and March 2017. Summary notes of these conversations, including emails and documents relating to over 240 enquiries, have been analysed using an auto-ethnographic approach. Findings We identified five challenges to knowledge brokering in an institutional service, namely length of brokerage time required, limits to collaboration, lack of resources, brokering research in a changing system, and multiple types of knowledge. Conclusions To understand and overcome some of the identified challenges, we employ Goffman’s dramaturgical perspective and argue for making better use of the distinction between front and back stages in the knowledge brokering process. We emphasise the importance of back stages for defusing destructive information that could discredit collaborative performances.

This article provides an auto-ethnographic narrative to offer insights into my experience as a practitioner&ndash, researcher working in widening participation (WP) in post-compulsory education (PCE). It relates how I came to join the Education and Training Foundation (ETF) Practitioner Research Programme (PRP). It provides insights into the role of WP practitioner and manager and offers a reflection upon my experiences as an early practitioner&ndash, researcher conducting research in the field of WP. Writing in the first person, I reflect upon the positionality within my professional practice as someone who is immersed in the context that is being researched. I make my story as authentic as possible in order to throw new light upon knowledge in the field of widening participation (WP) practice. This immersion has enabled me to increase my professional knowledge and to establish a stronger voice in and for WP practitioners in the profession and for learners in the WP community. This empowerment has come about as my knowledge of the factors influencing the context of my work has expanded. I hope that it will be of interest to other researchers working in the field of WP and that they will accept my invitation to contribute to this conversation and reflect upon their own journey.

© 2018 The Authors Journal of Evaluation in Clinical Practice Published by John Wiley & Sons Ltd Background: Evidence-based medicine is the application of research findings to inform individual clinical decisions. There is a tension—both philosophical and practical—between the average result from a population study and the circumstances and needs of an individual patient. This personal account of “evidence-based” trauma care illustrates and explores this tension. The case: The author, a keen athlete, describes her experience of a high-impact cycle accident that led to limb fractures (which were diagnosed and treated according to evidence-based guidelines) and also an occult injury to the cervical spine (which was not diagnosed at the time). Some evidence-based guidelines are reviewed and applied to the case. The clinical record described the cycle accident as a “fall.” Initial assessment directed the clinicians' gaze to the obvious injuries, whose treatment was straightforward. On admission, the patient (aged 55 years at the time) was offered “falls prevention” via a guideline-based checklist. Several months later, neurological sequelae indicated possible damage to the cervical spine. But the NICE Guideline recommending cervical spine imaging in cases of high-impact trauma had not been considered—perhaps because the clinical narrative had been prematurely assigned to the script of “older person with fall.” Furthermore, the author, who was (appropriately) treated with neurosurgery, was surprised at the response of clinical colleagues, based on application of an irrelevant section of a guideline, that her cervical discectomy was “nonevidence based.” Nonsteroidal anti-inflammatory drugs for postoperative pain were indicated in this patient even though they were not recommended for the average patient. Conclusion: As Sir John Grimley Evans' warned, we should avoid using evidence-based guidelines in the manner of the fabled drunkard who searched under the lamp post for his key because that was where the light was, even though he knew he had lost his key somewhere else.

While writing and reading have certain specific uses in the broader aspect of life and cultural practices, this paper focuses on improving a researcher’s practice as a teacher and learner in inclusiveness, multiplicity, multiculturalism, and possibility of various perspectives in any given contexts. Taking auto-ethnography as a methodological referent in writing narratives, that deals with my own and students’ lived experiences about journaling and its impact on transformation, this research looks into the dialectical nature of knowing through reflection about self practices whilst taking the cultural context of teaching in multiple perspectives. Responding to a number of questions including how a habit of maintaining journal helps the practitioner in cherishing multicultural thoughts, this work is equally a room that tries to find answers to the research question-- When and how do the learners realize a need for cross-cultural understanding? Along with participants’ narratives and other related theories this paper also covers the researcher’s encounter with Dr. Inspection, and a letter to the Subject Committee. In addition, an acrostic poem and a Haiku also give the picturesque of the ongoing discourse among teachers and students, teachers and management and management and students in any educational institutions being Mount Kailash University (MKU)1, a prototype.DOI: http://dx.doi.org/10.3126/jer.v3i0.7854Journal of Education and Research March 2013, Vol. 3, No. 1, pp. 75-91

Let me tell you a story about Lacan’s objet petit a (“lowercase- other”): an auto-ethnographical investigation of a creative person’s experience of writing an academic article on the creative process This article is an auto-ethnographical narrative that, through the splintering of the ego, views the creative process reflectively and reflexively. It includes an exploratory investigation of the concept “Other” as it appears in three creative texts created as part of the “Tracking creative creatures” project.

This study analyses how Maori operators in the tourist industry portray indigenous culture in their brochures. For close to 150 years, Maori people have been involved as entrepreneurs in New Zealand’s tourist industry. Although now integrated into the modern New Zealand nation-state, the representation of their culture in tourism gives an image of a traditional people radically different and set apart from modern New Zealand (Kiwi) culture. Utilising Fabian’s ideas regarding the organisation of otherness through cultural constructions of time and space, this article demonstrates how certain spatial arrangements are necessary to sustain the imaginary temporary division between a modern Kiwi culture and the representation of a traditional Maori culture, the latter is a tourist attraction in itself. Auto-ethnography in the dis- course of tourism inevitably becomes ‘self-Orientalism’, even if some spaces makes co-presence possible.

This paper presents critical autoethnography as an innovative approach to conducting research in marginalized, vulnerable communities. Combining autoethnography, ethnography, and critical pedagogy, the researcher becomes a participant in the study, turning inward to examine the Self and the complexities of cultural perspectives through the lens of critical pedagogy. Intense reflexivity and introspection undergird this study of Self as participant, going beyond recounting facts as objectively as possible, as occurs with autobiography, to acknowledging that the researcher is interpreting the facts through cultural perspectives formed through years of sociocultural, socio-historical, sociopolitical, and socioeconomic events and circumstances. Subsequently, the researcher, more than likely a member of the dominant culture in some categories is able to understand herself as an oppressor.

M. Phil. (Personal, Interpersonal and Professional Leadership) Orientation: Personal experience of the phenomenon of transcendence and a preliminary literature review indicates that the phenomenon of transcendence can be better integrated within the Personal, Interpersonal and Professional Leadership (PPL) framework as well as within other leadership theories. Research purpose: The aim of the study is to conceptualise transcendence within PPL and leadership in general using auto-ethnography research methodology. Motivation for the study: Current leadership literature within PPL does not include the integration of the phenomenon of transcendence as a model towards spirituality and leadership. This gap can contextualise spirituality and leadership through transcendence. Research design: The research approach within this study was based a postmodernist qualitative philosophy. Auto-ethnography was used as methodology and also included a life history of another person to verify the auto-ethnographic data. Main findings: The study yielded an auto-ethnographic story with a rich and varied description of how a person can experience transcendence within the personal leadership field. The analysis of the collected data has revealed themes that can possibly contribute towards spirituality and leadership. Practical implications: The findings of this study might bring insight into the human ability of transcendence despite difficulty or suffering, and that can contribute to spirituality and leadership. Anticipated contribution: The study provides some understanding of how a person can still develop into a leader despite difficulties or hardship. This understanding can contribute to leadership development interventions, which can also be explored further in future.

This article considers the place of the ‘everyday’ and ‘practice’ in media ethnography and audience research in cultural and media studies as well as this tradition’s relationship to textual analysis. Drawing on an auto-ethnographic study of the author’s family, the research considers the way in which they made meanings with the preschool children’s television programme Teletubbies. The analysis considers how television viewing is regulated discursively across a number of different sites that constitute ‘parenthood’. In this respect, Pierre Bourdieu’s concept of ‘habitus’ is developed to account for the ways in which the textual and discursive address articulates with, develops and reproduces the family’s childcare practices. The research also presents a method of analysis that explores the micro-example to ‘write singularity’ and suggests the benefits of exploring the ways in which meanings are made beyond the moment of reception. As such, a case is made for the need to move beyond conceptualizations of ‘the audience’.

The collective and the common are categories that describe and affect art practice, the new forms of creation, and the culture of curatorship. This conversation approaches them from a shared experience, the setting in motion of a Factory of Authorless Cinema in Intermediæ, a public institution of art and culture, located in Madrid's Matadero. From an auto-ethnographic and performative standpoint, we analyse the opportunities this opens up for the production of a new cultural institution. This situated understanding of curatorship and mediation allows us to discuss the role of the political epistemology of the commons in the current redefinition of the public sphere and to propose a decolonial affecting of this notion from the standpoint of multiplicity. Public, commons, rotation and temporality become the keywords that guide this text. In the construction of the problem we see how art and culture can become a space to play out new forms of governance where, on the basis of poetic models of thought, new futures for this public space we share can be created. The question is posed by a situated curatorship and mediation, in the context of the public institution, for the composition of a temporary, variable community, in constant movement and transformation, from a decolonial vantage point, which we call jaguar. Lo colectivo y lo común son categorías que describen y afectan la práctica artística, las nuevas formas de creación y la cultura de la curaduría. Nuestro trabajo se acerca a ellas desde una experiencia compartida, la puesta en marcha de una Fábrica de Cine sin Autor en Intermediæ, una institución pública de arte y cultura, situada en Matadero Madrid. Desde un planteamiento autoetnográfico y performativo analizamos las oportunidades que ofrece para la producción de una nueva institucionalidad pública. Una visión situada de la curadoría y la mediación, nos permite discutir el papel que la epistemología política de lo común juega en la redefinición actual de la esfera pública y proponer la afectación decolonial de esta concepción desde la noción de multiplicidad. Público, común, rotación y temporalidad se convierten en las palabras clave que guían este texto. En la construcción del problema vemos cómo el arte y la cultura pueden convertirse en un espacio de ensayo de nuevas formas de gobernanza donde crear, desde modelos poéticos de pensamiento, nuevos futuros para ese espacio público que compartimos. Se abre la pregunta por una curadoría y mediación situada, en el contexto de lo público-institucional, para la composición de una comunidad temporal, variable, en movimiento y transformación, desde un punto de vista decolonial que denominamos jaguar.

In this auto-ethnographic study, I focus on a special form of clowning for people at an advanced stage of dementia. The miMakkus clown is presented as a specialist in contact with people with whom communication is no longer possible by the usual (linguistic, cognitive) means. I illustrate how the miMakkus clown tries to reach people with dementia, focusing specifically on the role of the sensitive body as an instrument for attunement. As I demonstrate, in their contact, the clown and the person with dementia are involved in a process of mutual articulation.

In this article, the meaning of a combination of the adjective �reformed� and the noun �music� is explored. The main question is: What can be termed �reformed music�? In order to answer this question, some of the work on liturgy by the theologians Smit, Old and McKee will be explored, specifically their understanding of �reformed liturgy�. Throughout, the article takes the form of a historical reflexive autoethnographic journey into the life and experiences of the author of this article in the period roughly stretching from 1986 to 1996. In particular, it focuses on the way in which the author appropriated two different kinds of music genres. His exposure to both reformed church music and the alternative Afrikaans music movement, which included rock bands such as Johannes Kerkorrel en die Gereformeerde Blues Band will be scrutinised. Ultimately, the aim of this journey is to establish which one of these two music genres from this specific period in the history of South Africa is worthy of the name �reformed music�.

Why do many of the books on punk rock and hardcore punk come with punk attitude? Why are a good number of the books written from a personal perspective? What kind of value do the diary entries of Nils Stevenson in 'Vacant: A Diary of the Punk Years 1976-79' have compared to an article on the rhetoric of class by David Simonelli in the journal 'Contemporary British History'? In some respects scholarly writing on punk rock seems like a contradiction. How can music so rooted in anti-establishment sentiment be appropriated into an institutional setting? The auto-ethnographic approach found in many of the studies of punk might be an answer to this question. The writers have used their own experiences as musicians and fans to reflect on and analyse the music and scenes which arguably provides the reader with a more immediate insight. This paper argues for an auto-ethnographic approach to the writing of punk and hardcore punk and suggests that this style of writing about music offers the reader an ‘authentic’ insight into these particular music scenes.

Das Erkunden des Unbekannten setzt das Verlassen des Bekannten voraus. Dieses Verlassen ist somit eine Grundvoraussetzung für das Transzendieren von Selbst und Gesellschaft, ob man nun die entfernte Kultur oder die Kultur in der Nachbarschaft untersucht. Das Verlassen ermöglicht jedoch auch ein anderes und tieferes Verständnis von dem, was man zurückgelassen hat. In dieser Abhandlung werde ich eine Verknüpfung der beiden zutiefst menschlichen Lebensweisen des Zuhause-Seins und des In-der-Fremde-Seins vornehmen, sowohl im buchstäblichen Sinn der Verknüpfung der eigenen und der fremden Kultur als auch im übertragenen Sinn der Verknüpfung von Ethnografien des Bekannten und des Unbekannten. Der Blick zurück in die Heimat erweist sich dabei als eine Möglichkeit, Selbst-Reflexivität zu praktizieren. Ich werde wissenschaftliche Ansätze zur Erfahrung von Heimat und Fremde mit meinen persönlichen Erfahrungen verknüpfen, um Bedeutungs-Dimensionen aufzuzeigen. Mein Beitrag behandelt die folgenden Dimensionen: (a) Die Etymologie von Heimat und Fremde, (b) kulturpsychologische Aspekte, (c) Fernweh versus Heimweh sowie (d) zentrale auto-ethnografische Fragen und "Reisen in die Heimat"; diese Reisen illustrieren die Möglichkeiten, die die Auto-Ethnografie eröffnet. Auto-Ethnografie stellt demnach ein weiteres Puzzleteil dar im Bemühen, uns selbst und andere zu verstehen. Studying the unknown involves leaving the familiar. Leaving is prerequisite to transcending self and society, whether studying a far-away culture or the neighborhood culture. However, leaving also enables a different and deeper understanding of what we left at home. In this exploration I will interweave the two very human states of being at home and being away, both in the literal sense of studying one's "own" and the "other" culture, and in the metaphorical sense of studying the known and the unknown within the field of the ethnographic endeavor. The look back home emerges as a chance to practice self-reflexivity. I will relate scientific approaches to the experience of being home versus being away with my personal experiences of leaving my home-country (Germany) and immersing myself in another culture (the United States) to open up various dimensions of meaning. My contribution includes: (a) the etymology of home and away; (b) cultural psychology of home and away; (c) Fernweh versus Heimweh; and (d) central auto-ethnographic questions and "Journeys Back Home" that illustrate the possibilities auto-ethnography opens up as yet another piece of the puzzle in attempting to understanding ourselves and others. Estudiar lo desconocido implica abandonar lo familiar. Abandonar es un pre-requisito para trascenderse a sí mismo y a la propia sociedad, sea para estudiar una cultura remota o una cultura vecina. Sin embargo, abandonar también permite una comprensión diferente y más profunda de lo que se dejó en casa. En esta exploración voy a entrelazar los dos estados, muy humanos, de estar en casa y estar lejos, en el sentido literal de estudiar la "propia" cultura y "otra" cultura, y en el sentido metafórico de estudiar lo conocido y lo desconocido dentro del campo del esfuerzo etnográfico. Voltear a mirar lo doméstico emerge como una oportunidad para practicar la autoreflexión. Relacionaré aproximaciones científicas a la experiencia de estar en casa versus estar lejos, con mis propias experiencias personales de haber dejado mi hogar-país (Alemania) y haberme sumergido en otra cultura (los Estados Unidos), para abrir así varias dimensiones de significado. Mi contribución incluye: (a) la etimología de hogar y lejanía; (b) su psicología cultural; (c) destierro (Fernweh) versus nostalgia (Heimweh); y (d) preguntas auto-etnográficas centrales y "viajes de regreso a casa" que ilustran las posibilidades que brinda la auto-etnografía como una pieza más del rompecabezas que debemos armar para comprendernos a nosotros mismos y a los demás.

This chapter discusses how auto-ethnography can provide reflections and tools that are useful in breaking with the tradition of hit-and-run research, experienced as problematic and neocolonial in Arctic communities. By providing three vignettes from fieldwork experiences in Greenland, the chapter offers critical reflections on the relation between researcher and informant in the field, on the positionality of the researcher, and on resisting to reproduce the “colonial gaze” by reversing it. The chapter suggests that reflexivity and auto-ethnography can be a process and practice with the potential to challenge colonial Self-Other relations, subject-object, researcher-researched. While an auto-ethnographic approach does not necessarily lend itself as “collaborative”, the chapter discusses the ways in which it can support collaborative research methodologies in the Arctic. While employing reflexivity does not, in itself, resolve power asymmetries in a research context, it may create a possibility to acknowledge, explore, and expose the dynamics of positionality as a way to decolonizing research.