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The purpose of this paper is to examine the rituals and communicative practices that simultaneously create community, out-groups and perceptions of stigma at a local comic…
The purpose of this paper is to examine the rituals and communicative practices that simultaneously create community, out-groups and perceptions of stigma at a local comic book retail organization through autoethnography. As such this piece explores personal identity, comic book culture and how this comic book shop acts as important third place as defined by Oldenburg.
Autoethnography allows for the simultaneous research into self, organizations and culture. As a layered account, this autoethnography uses narrative vignettes to examine a local comic book retail organization from the first person perspective of a collector, a cultural participant and geek insider.
The term geek, once brandished as an insult to stigmatize, is now a sense of personal and cultural pride among members. Various rituals including the “white whale” moment and the specialized argot use help maintain community in the comic book shop creating a third place as categorized by Oldenburg. However, these shared communication practices and shared meanings reinforce the hegemonic masculinity of the store, leading the author to wonder if it can maintain its viability going forward.
This autoethnography was performed at a local comic book shop, connecting communicative and ritual practices to organizational culture, hegemonic masculinity, geek culture and personal identity. It also argues that one need not be an embedded organizational insider to perform organizational autoethnography.
This article aims to represent three ethnographers researching an organizational event within academia: the Second International Congress of Qualitative Inquiry. It…
This article aims to represent three ethnographers researching an organizational event within academia: the Second International Congress of Qualitative Inquiry. It explores the divergent viewpoints of their ethnographic experiences as well as reflecting upon their relationships with each other as they attempted to understand each others’ viewpoints.
This ethnographic project involved participant observation, full participation, and narrative interviews. However, as the project continued, it evolved to reflexively examining the authors’ own viewpoints and relationships challenges.
This paper contributes to understanding ethnographic research of organizational events in several ways. First, it is an exemplar of how three ethnographers examining the same organizational event view it through differing lenses. Secondly, it shows how the authors worked together through the research, struggling to understand each others’ varied political and personal lenses through dialogue.
The research examined only one organizational event, therefore the findings are specific to this site and the same results may not necessarily be found in other organizations.
This paper is unique in that three ethnographers from different generations and different political worldviews can come together for the purposes of research, examine an organizational event and learn to cooperate with and appreciate each others’ viewpoints.
Purpose – Research on punk culture often falls prey to three main dilemmas. First, an ageist bias exists in most popular music research, resulting in the continued…
Purpose – Research on punk culture often falls prey to three main dilemmas. First, an ageist bias exists in most popular music research, resulting in the continued equating of music and youth. Second, punk culture research often uses a Marxist economic lens that implies fieldwork reveals already known conceptions of class and culture. Third, research on punk culture lacks ethnographic and narrative examinations. This ethnographic project explores my reentry into punk culture as an adult, exploring it from a new researcher perspective. It provides an insider's view of emerging cultural themes at the site that disrupts these traditional research approaches.
Methodology/approach – This ethnography examines punk culture at an inner city nonprofit arts establishment. Through grounded theory and using a fictional literary account, this research probes how rituals and cultural narratives pervade and maintain the scene.
Findings – Concepts such as carnival, jamming as an organizing process – and as an aesthetic moment – emerged through the research process. This ethnography found narratives constituted personal and communal identity.
Research limitations/implications – As a personal ethnography, this research contains experiences in one local arts center, and therefore is not necessarily generalizable to other sites or experiences.
Originality/value of paper – Using ethnography, I explored punk as one of my primary identities in tandem with younger members of the scene. It critiques Marxist and youth approaches that have stunted music scene research for decades.
The purpose of this paper is to explore narratives in a new nonprofit arts center. It includes the macro‐, meso‐, and personal narratives that keep the center organized in…
The purpose of this paper is to explore narratives in a new nonprofit arts center. It includes the macro‐, meso‐, and personal narratives that keep the center organized in the midst of the chaotic everyday activities. It advocates the explanatory force of narrative as an alternative to organizational life cycle theory for understanding organizational startups.
This narrative ethnography involved participant observation, full participation, and narrative interviews over a three‐year period. Using grounded theory, narratives were examined to discover how they engendered and maintained order.
This paper contributes to the understanding narratives as a constitutional organizing and sensemaking process, including the narratives of “do it yourself,” and economic production, family and home, and personal narratives that constitute community, community boundaries, and identity, adding to our knowledge of organizing.
The research examined only one local nonprofit arts center, therefore the findings are specific to this site and the same types of narratives may not necessarily be found in other nonprofits.
This paper examines a nonprofit during start‐up. It validates support for the examination of organizations through narrative ethnography and narrative interviewing. It purports that narratives constitute social identity, rather than being the evidence of social identity.
Francisco J. Alatorre earned his law degree in Mexico, where he also practiced law before emigrating to the United States in 1991. He completed his Ph.D. degree in Justice Studies in 2011, and he is now Assistant Professor of Criminology at New Mexico State University, Las Cruces, New Mexico. His dissertation research involved a study of undocumented immigrants in Arizona.