Negotiating sexuality and masculinity in school sport: An autoethnography

This autoethnography explores challenging and ethically sensitive issues around sexual orientation, sexual identity and masculinity in the context of school sport. Through storytelling, I aim to show how sometimes ambiguous encounters with heterosexism, homophobia and hegemonic masculinity through sport problematise identity development for young same-sex attracted males. By foregrounding personal embodied experience, I respond to an absence of stories of gay and bisexual experiences among males in physical education and school sport, in an effort to reduce a continuing sense of Otherness and difference regarding same-sex attracted males. I rely on the story itself to express the embodied forms of knowing that inhabit the experiences I describe, and resist a finalising interpretation of the story. Instead, I offer personal reflections on particular theoretical and methodological issues which relate to both the form and content of the story

Alpha-decay damage and recrystallization in zircon: evidence for an intermediate state from infrared spectroscopy

α-decay damage and recrystallization in natural zircon (with dose ranging from 0.06 to 23.3×1018 α-events g -1) were studied using polarized reflection infrared spectroscopy. The experimental results show that α-decay damage leads to a gradual decrease in reflectivity and a loss of anisotropy of IR spectra. Recrystallization of damaged zircon is found as a multi-stage process with a strong dependence on the initial degree of damage. In weakly and moderately damaged samples the major recrystallization takes place near 1000 K. Annealed samples recrystallize epitaxially along their original crystallographic orientations. A highly damaged zircon with radiation dose of 15.9×1018 α-events g -1 decomposes into SiO2 and ZrO2 near 1100 K. In this sample the growth of ZrSiO4 from the binary oxides occurs between 1400 and 1500 K. An additional IR signal peaked near 790 cm -1 is detected in moderately damaged samples annealed at temperatures higher than 800 K. This peak is sharp and isotropic. The peak tends to disappear at temperatures above 1400 K. This signal may be related to an unknown intermediate phase caused by heating of radiation-damaged zircon. Alternatively, the signal may be due to the structural distortions near the boundaries between the amorphized and crystalline regions.Peer Reviewedhttp://deepblue.lib.umich.edu/bitstream/2027.42/48885/2/c02410.pd

Remembering, Reflecting, Returning: A Return to Professional Practice Journey Through Poetry, Music and Images:A Return to Professional Practice Journey Through Poetry, Music and Images

<p>Our composition brings together poetry, music, images and personal narratives based around the experiences of an occupational therapist, Karen, who following a family career break, returned to her profession. Our work demonstrates collaborative research practices and illuminates our experiences and journeying as practitioner-artists/researchers/teachers.</p> <p>This autoethnographic inquiry employs bricolage, drawing on theory and hybridized methods, inspired by the notion of ‘returning to practice’. The conversations of Karen and Katherine (mentee and mentor) as qualitative data, analyzed, interpreted and made accessible through poetry and images – along with Peter’s musical and autobiographical compositions – explore possibilities to re-examine and share alternative avenues of scholarship and theoretical understanding, not least in redefining what contribution to knowledge that artistic processes and ‘artwork’ makes methodologically, pedagogically, aesthetically, and therapeutically. Our intention is to engage the reader-viewer-listener to (re)think, take notice, disrupt, re-examine and extend personal meanings about return to practice journeys, enabling each of us to benefit and be (re)inspired.</p> <p>We recast aspects of ‘knowing and experience’ metaphorically, to consider and express our sense of being and becoming in the world. Importantly, we seek to explore how arts informed ways of knowing and learning about the self and other can serve to enhance our students/researchers/practitioners learning experiences.</p

Engaging with arts-based research: A story in three parts

Qualitative psychology researchers of today face numerous practical, ethical, political and theoretical challenges. We have often asked ourselves how we might respond to these multiple and complex challenges. On our evolving research journeys, we have found that arts-based methodologies offer one effective response. We explore here our experiences of doing arts-based research in psychological contexts, by sharing and reflecting on three short stories. The stories illustrate how each arts-based project has required of us three distinct waves of engagement: interdependent engagement with people and place, aesthetic engagement with sense making processes, and emotional engagement with – and of – audiences. We use the story form to evoke each wave of engagement because it allows us to communicate the qualities of that engagement without finalising, foreclosing or restricting the variety of ways arts-based research might be conducted

Who speaks for extinct nations? The Beothuk and narrative voice

The Beothuk of Newfoundland were among the first inhabitants of North America to encounter European explorers and settlers. By the first part of the nineteenth century the Beothuk were extinct, exterminated by the fishers and soldiers and settlers of western Europe. The last Beothuk was a woman named Shanadithit. She was captured and lived with white settlers for a few years before she died in 1829. Today all that remains of the Beothuk nation, which once numbered seven hundred to one thousand people, are some bones, arrowheads, tools, written records of explorers and settlers, and copies of drawings by Shanadithit in the Newfoundland Museum. In recent years several writers (all are white and male) have written fiction and poetry and drama about the Beothuk, including Peter Such (Riverrun, 1973), Paul O'Neill (Legends of a Lost Tribe, 1976), Sid Stephen (Beothuk Poems, 1976), Al Pittman ("Shanadithit," 1978), Geoffrey Ursell (The Running of the Deer; A Play, 1981), Donald Gale (Sooshewan: A Child of the Beothuk, 1988), and Kevin Major (Blood Red Ochre, 1990). A recurring theme in all these narratives is the theme of regret and guilt. These narrative accounts of the Beothuk raise significant questions about voice and narrative, including: Who can speak for Native peoples? Who can speak for extinct peoples? Are there peoples without voices? How is voice historically determined? What is the relationship between voice and power? How are the effects of voice generated? What is an authentic voice? How is voice related to the illusion of presence? What is the relation between voice and silence? In examining contemporary narrative accounts of the Beothuk my goal is to reveal the rhetorical ways in which the Beothuk are given voice(s) and to interrogate the ethical and pedagogical implications of contemporary authors revisiting and revisioning and re-voicing a nation of people long extinct