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To examine how art is shaped by war, outside of the official commemorative projects of the First World War. The purpose of this paper is to examine the experience of a surgeon/artist who knew first-hand the horror of industrial scale of destruction. It speculates on how his medical education and surgical knowledge in the treatment of the casualties informed his art and considers how such scientific discourses may have contributed to a new modernist language.

The double career of J.W. Power – a surgeon then an artist – provides a case study to probe such questions. The paper speculates about the connections between these different careers, and considers the implications of becoming an artist for someone who had pre-war university-training, medical expertise and experience as a war surgeon. In particular, consideration is given to how surgical knowledge and contemporary medical debates may have informed a group of later paintings.

A group of J.W. Power’s late paintings stand apart from his other subjects as they suggest states of physical or psychological damage. Indeed by the 1930s shell shock was recognised as a war-related psychological injury. These paintings then may not only be an act of remembrance, but also potentially a reflection on that new discourse.

It remains a compelling idea that by the 1930s Power had found a modern abstract language capable of revisiting the traumatic subject of his hospital sketches. The implications of the war-time surgery on his art was delayed and remains highly ambiguous, however it invites, indeed encourages, such speculation.

The paper is the first to examine the cultural impact of the medical career of the artist J.W. Power. His medical training and experience as a war-time surgeon is shown to have been significant to his later painting, for he knew the regenerative powers of modern surgery, of how such knowledge had the power to repair and to heal.

Understanding one’s personal journey provides for effective learning, growth, and development (Madsen, 2010). Reflection on the influences and experiences of successful women leaders is essential to understanding the factors that have enabled them to obtain and sustain leadership positions in nontraditional career fields. The purpose of this qualitative study was to conceptualize and describe the personal journeys of women who became deans of agriculture. The central research question was, “Describe your personal journey to becoming a dean of agriculture?” Six women deans of agriculture were interviewed and observed in an attempt to recognize the impact their personal journeys have had in developing their leadership styles and sustaining their leadership role. Conclusions were (a) they were first born children, (b) influenced by parental qualities and spousal support, and (c) mentors recognized their gifts and talents and encouraged them to pursue advanced degrees and leadership positions.

A random sample of 216 primary schoolchildren in Port Harcourt, Nigeria, was interviewed with a view to finding out the influence of theme and illustrations on their literature preferences. Results of the study indicated that children preferred books written by Nigerian authors with local themes to western books with alien themes. The influence of illustrations, however, seems to be dominant among primary 1 and 2 pupils (aged 5‐7 years) with a decreasing effect on primary 3 and 4 pupils (aged 7‐9 years) and a minimal effect on primary 5 and 6 pupils (aged 9‐11 years).

The purpose of this paper is to explore the methodological practice of shadowing and its implications for ethnographic fieldwork. Furthermore, the paper challenges the label of “shadowing” and suggests a new label of “spect‐acting.”

This paper is based in a feminist and interpretive‐qualitative approach to methods, and uses the author's experience with shadowing as a case study. The author argues that fieldwork is always intersubjective and as such, the research site emerges out of the co‐construction of the relationship between researcher and participant.

The author argues that reflexivity is a required but neglected aspect of shadowing, and that spect‐acting as a new term would require the researcher to take reflexivity more seriously, thereby opening up emancipatory possibilities in the field.

Findings are based on a limited time span of shadowing.

The paper is original in that it imports “spect‐acting” from performance studies into the organizational methods lexicon. The value of the paper is that it provides reflection and discussion of one‐on‐one ethnography, which is a relatively underutilized method in research on organizations and management (but beginning to grow in popularity).

The purpose of this paper is to examine whether the emotional experiences from qualitative research can enrich organization and management studies.

The paper's approach includes a review of the literature in sociology, anthropology, psychology, and feminist studies, in which scholars have argued convincingly for the explicit need to acknowledge and utilize the emotions of researchers as they study social and organizational phenomenon. Also, past research is emotionally re‐written as reflexive examples.

The use of emotions as qualitative researchers can enrich the understanding of organizational and social life by offering new questions, concepts, and theories. At the level of methodology, this leads one to develop and reflect upon an emotional and cognitive orientation of the field.

The majority of narratives in organization studies remain sanitized, emotion‐less texts. While a discussion of researcher‐emotion can remain a back‐stage activity between colleagues over dinner, It is believed that much can be gained by a more explicit discussion.

The purpose of this paper is to provide guidelines for reflexive ethnographic writing that transports the researcher's claims of having conducted participatory reflexive research to her audience.

Auto‐ethnographic vignettes from the author's own ethnographic research are used to establish five levels of reflexivity for writing organizational ethnography.

The author argues that the audience needs to be able to judge a researcher's claims to reflexivity through his/her writing. Yet, due to the participation mode of reflexivity while doing ethnographic research, the researcher is not in control over his/her own reflexive writing. Therefore, processes between three groups of stakeholders, namely researcher, field and audience, and their power relations need to be considered in reflexive writing. The author calls this process ethnographic triangulating and derives a five‐tiered model of reflexive writing from it.

The paper offers a perspective on how to write organizational ethnography. Others will have to put this perspective into practice.

The paper moves the participation mode of reflexivity to the level of writing, thereby offering a fully conceived view on reflexivity that acknowledges the influence of field and audience on ethnographic writing.

The purpose of this paper is to offer a reflexive account of the co‐production of a qualitative research project with the aim of illuminating the relationships between research participants.

The paper draws upon personal experience of designing and conducting a research project into management learning, run jointly between an academic and a senior practitioner. The methodological issues involved and the reflexive dynamics of how the work of research collaboration is accomplished are considered.

Engaging with radical reflexivity helps to produce insights about the co‐production process.

This paper contributes to the field of reflexivity and is innovative in its context of academic‐practitioner research.

The purpose of this paper is to explore the consequences of doing research that uses qualitative approaches. Anchored in a process ontology, this paper starts from the idea that doing research implies a performance in which the researcher is fully immersed, and explores the implications of the processual nature of doing research.

The paper takes use of vignettes; short stories of research in action, told by different researchers that are analyzed to reveal the richness of the situation in question. These vignettes illustrate how performing qualitative research is an emotional, embodied and deeply personal experience.

The authors show that when grounding qualitative research in a process ontology, research is the fruit of the researcher's performance: doing research is performing it, and performing it cannot happen without feeling a wide range of emotions, without appealing to who we are or without questioning what we are doing. Thus, this exploration reveals that doing research is a rich, complex and multi‐level experience that mobilizes the whole person conducting this inquiry – that is, that doing research takes the form of a thick performance.

The value of the paper lies in its roots in a process ontology to understand the doing of qualitative research, which makes it possible to fully acknowledge the importance of subjectivity in all the steps that make up the research endeavor, from the fieldwork to writing – thus offering not only a richer image of what research is about, but an image that is also closer to the experience of doing it.