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Although social distancing measures enacted during COVID-19 prevented the spread of the virus and acted as important coping mechanisms during this stressful time, they also contributed to loneliness and anxiety. The pros and cons of social distancing measures were especially relevant among people with disabilities and chronic health conditions – a high-risk group concerned about infection through contact with non-household members and visiting public places like school, healthcare providers, and work.

Drawing on data from a national online survey (N = 1,027) and in-depth virtual interviews (N = 50) with Canadians with disabilities and chronic health conditions, we examine the positive and negative effects of three types of social distancing measures – avoiding public places, transitioning to remote work or school, and avoiding contact with non-household members – on perceptions of increases in anxiety and loneliness during the pandemic.

We find that the relationships between engaging with social distancing measures and anxiety and loneliness could be positive or negative, with measures acting as both adaptive and maladaptive coping mechanisms. Although avoiding public places or non-household members and transitioning to remote work or school often resulted in increased anxiety and loneliness, respondents also described situations where these measures helped them cope with concerns about catching COVID-19.

Our findings highlight potential implications for public health policy in allocating different coping resources among marginalized groups during times of crisis and demonstrate the importance of using a social model of stress, coping mechanisms, and mental health.

This paper proposes a dialogical approach for analyzing and presenting Interpretative Phenomenological Analysis (IPA) data in organizational research.

The paper explores the story behind a story, showing how qualitative research can be fictionalized and reflexively framed in contemporary organizational settings, illustrated by IPA research conducted by the authors, into selection interviewing in Australia. Drawing from researchers' narrative notes that reflexively interpret interview data in narrative form, the data were re-interpreted in fictionalized dialogical form, enabling findings to be analyzed and presented more interactively.

The application of new interpretative techniques, like fictionalized dialogue, contributes to a richer interpretation of phenomena in qualitative organizational and management research, not limited to IPA studies.

Fictionalized dialogue brings to the surface an additional level of analysis that contributes to thematic analysis in a novel manner, also serving as a communicative tool.

The purpose of this paper is to discuss whether artists create research outcomes in a revolving (or spiraling) process? This can be a catch-22 where their work is responding to and forecasting change, while the artist’s voice is often seen as too qualitative to provide research impact for university societies or to be compared with the quantitative data that scientists use.

Where will research methods, qualitative and quantitative overlap? The author knows that both methods are important for ongoing observations about creative arts practice. The qualitative is part of Holmes’ (2011/2012) query about how “knowledge involved in artistic thinking should […] include the issue of how mental images are given creative form, but this is a process that remains obscure in current art research” (p. 2).

For Holmes, “the knowledge product of art research cannot be considered separate from the researcher’s psychic processes; and the currently obscure relationship between artistic production and subjectivity might lead to one of the unique contributions to be made by art research” (Holmes, 2011/2012, p. 2). Holmes’ suggestion provides a strategic link to the way arts and sciences might overlap. “How do artists and scientists find a way to match issues, ideas and theories?” This may be especially so in relation to the integral use of image to empower a message.

This paper offers an original look at how artists empower with image.

This chapter considers the influence of horror on the production of commercial gay pornography. I see this influence reflected especially in the production and popularity of gay pornographic films inspired by horror franchises from the slasher and ‘torture porn’ cycles that have been remade in recent decades. Nine texts are selected for analysis – from the slasher genre: Bryan Kenny’s 2010 A Nightmare on Twink Street (inspired by the A Nightmare on Elm Street series), Andy Kay’s 2012 Black XXXmas (inspired by Black Christmas), Frank Fuder and Angel Skye’s 2009 Halloweiner: Friday the Fuckteenth and Chi Chi LaRue’s 2016 Scared Stiff (both inspired by the Friday the 13th series), Bromo’s 2017 Cream for Me (Scream series); and from the torture porn genre: Jett Blakk’s 2006 Bonesaw, John Bruno’s 2006 Rammer and Bryan Kenny’s 2010 Raw I and 2011 (with Andy Kay) Raw II (inspired by the Saw franchise). The specificity of the horror genre is addressed, as is the importance of gender. But particular focus is directed toward the structural aspects of gay porn parodies and the degree to which horror parodies in particular have the potential to blend pornographic homosex with graphic violence, perhaps most extreme in the slasher and torture porn horror variants. Other potentialities are also explored, such as for the easing of narrative/sex porn tensions.