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The purpose of this paper is to explore the ways in which transcription is creative work, the degrees to which current literature elides or explores these creative…
The purpose of this paper is to explore the ways in which transcription is creative work, the degrees to which current literature elides or explores these creative elements, and the ethical implications of researchers’ standard disacknowledgement of transcription as an intra-active suturing together of verbal exchanges, personal understandings, and texts.
The authors’ analysis is based on a review of literature, with this paper putting specific sections of qualitative inquiry into conversation with one another, along with Mary Wollstonecraft Shelley’s novel Frankenstein and Karen Barad’s concept of spacetimemattering.
First, in a preliminary literature review of 200+ articles, the authors found that few researchers acknowledge the creative and decision-making processes that are inherent in transcription. Second, building on that finding, the authors explore the ways that others have discussed transcription as creation/creative and the ways that Barad’s concept of spacetimemattering – which directly influences our use of Shelley’s Frankenstein – has influenced qualitative inquiry.
Transcription is pervasive in qualitative research, with some researchers finding that upwards of 60 percent of research is based on transcribed interviews. However, there is little examination of the creative processes inherent in transcription and the ethical implications of those processes. In terms of limitations, because this is a conceptual paper, it is based on a discussion of various aspects of the literature rather than specific findings demonstrating what the authors argue.
There is real risk in transcription being positioned as merely a task to be completed, to get to the “good stuff” of analysis and writing. Transcription carries implications bound with the responsibilities of creation and interpretation, and researchers who aim merely to achieve and work from a “verbatim” transcript skip over all of the parts that make this common process matter, both to researchers and the researched. The authors argue that qualitative researchers find before them a range of options when they begin the seemingly mundane task of transcription. The keystrokes begin the suturing process, binding together word, action and emotion in a document. Perhaps more importantly, though, the process of creating a transcription is a continuation of the range of ethical implications that research has for participants and researchers.
The authors suggest a similar degree of responsibility for researchers who transcribe and/or work from transcriptions, though the concerns are the inverse of Frankenstein’s creature’s. Researchers are focused on the final product – the transcript itself. That document becomes the basis of analysis, of arguments, of understandings. Researchers need to be as aware of the sutures, cuts and stitches that form their transcription as they are of the final product. There are ethical implications of not exploring the degrees to which the transcripts themselves are creatures – born of decisions, of available resources, of researchers’ own assumptions and understandings.
While Barad’s concepts of spacetimemattering and Frankenstein have informed qualitative inquiry, there is no scholarship linking this theoretical discussion to the process of transcription, which is an important element of a substantial amount of qualitative data.
This article discusses information sources and critical interpretations of Mary Shelley's life and her most important work, Frankenstein: Or, the Modern Prometheus. In…
This article discusses information sources and critical interpretations of Mary Shelley's life and her most important work, Frankenstein: Or, the Modern Prometheus. In addition to publishing history and information about revisions, translations, inclusion in collections, and references to possible sources of the story, it will evaluate some biographical material about Mary Shelley and her family, and their influence on her. Finally, various critical approaches, the growth of interest in both the writer and her work, and possible reasons for it will be noted.
Textuality within the Western tradition has functioned in Derrida's analysis as the essential, yet disavowed supplement of a logos that perpetually sets itself against the…
Textuality within the Western tradition has functioned in Derrida's analysis as the essential, yet disavowed supplement of a logos that perpetually sets itself against the necessary interventions of writing. Derrida compares textuality to a pharmakon, an ambivalent substance that has the capacity to act as both poison and cure. The ‘cure’ that textuality offers to the law pertains to the law's inability to establish its own permanence, or presence, without some literary intervention: only once it is ‘put into writing’ does the law remain ‘on record’, its permanence ‘ensured [by the text] with the vigilance of a guardian’ (Derrida, 2000b, p. 113). At the same time, however, textuality could be said to commit a kind of crime against the logos: it improperly appropriates the ‘presence’ of the law, steals it and substitutes itself for it. Writing is, as Maurice Blanchot puts it, ‘the enemy of all relationships of presence, of all legality’ (Blanchot, 1987, p. 156). The law's ‘presence’ nevertheless depends upon this criminal narrativity. In particular, the emergence of law requires the emergence of a narrative capable of resolving the trauma that attends the inception of communal and individual subjectivity: the law acquires its ‘presence’ only after a certain violent communal fantasy has established a vital untruth about the law's origins. The founding moment of Western law is a representation of a fictive transgression that serves to account for the terrifying, symbolically unrepresentable rupture that separates the individual and the community from the pre-symbolic void. In order for the law to take its place, it is necessary to stage a ‘crime’ and then to re-present it as the law's sure foundation. This crime is parricide and Derrida links it explicitly to the advent of narrativity as the law's uncanny, necessary condition of being:[…] this quasi-event bears the marks of fictive narrativity (fiction of narration as well as fiction as narration: fictive narration as the simulacrum of narration and not only as the narration of an imaginary history). It is the origin of literature as well as the origin of law – like the dead father, a story told, a spreading rumour, without author or end, but an ineluctable and unforgettable story. (Derrida, 1992, p. 199)
Much like the raw painting of Dorian Gray, this investigation will attempt to glimpse beyond the surface façade of the characters portrayed in ShowTime’s Penny Dreadful. Examining the recurring relationship structures within the series, this chapter will dissect ideas of obsession, passion, and justice. What can the relationship dynamics reveal about notions of a monstrous nature? Like the brush strokes of Dorian’s portrait, each layer of analysis will reveal a broader picture of the term monster, being that which is not only applicable to a few individuals, or one particular sex, but a reflection of society. Why are modern day audiences captivated by such character portrayals, and much like the portrait of Dorian Grey, what disturbing truth lurks behind our civilized exterior?
This paper is the second half of an invited paper given by the author to the international conference, promoted by the UNESCO Philosophy Forum, to celebrate the fiftieth…
This paper is the second half of an invited paper given by the author to the international conference, promoted by the UNESCO Philosophy Forum, to celebrate the fiftieth anniversary of the founding of the organisation (Paris, 14–17 March 1995). The first half, which deals with a slightly different theme, is published as an Article earlier in this issue.
Although the potential of Building Information Modelling (BIM) to generate process and performance improvement in the construction industry has been widely documented…
Although the potential of Building Information Modelling (BIM) to generate process and performance improvement in the construction industry has been widely documented, very few projects operate in a wholly BIM environment. The purpose of this paper is to explore the factors that lead to hybrid practice in BIM across disciplines or project stages, and accommodations that must be reached within BIM project frameworks to allow for it.
In-depth semi-structured interviews were carried out with 38 BIM specialists from Australia and New Zealand, representing a variety of construction industry disciplines and roles. Data on current practice and experiences in BIM were analysed using a thematic approach within a qualitative framework.
Hybrid BIM practice is shown to be a common experience for practitioners in New Zealand and Australia. It is presented as a valid model of BIM adoption; both as a development stage in the process towards more complete BIM implementation, and also as an adoption model in its own right.
The paper is based on data from New Zealand and Australia, which are currently developing BIM markets. Although surveys have demonstrated many similarities in BIM adoption processes internationally, results may be less applicable to more mature markets.
The paper suggests that instead of regarding hybrid BIM negatively as an unsuccessful implementation, companies should seek to identify and manage the causes and effects of hybridisation in order to improve project outcomes.
This paper addresses the management of transitional stages of BIM implementation, which is often overlooked in research.