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This chapter will focus on the use of reflective dialogues (RDs) to explore pedagogical practice in higher education. RDs allow researchers and participants to reflect on observed phenomena together, engaging in collaborative reflection that may allow both the researcher and the researched to gain from the interaction, throwing into focus different aspects of practice and a different perspective on the situation, and blurring the boundaries of research and researched into a more reciprocal relationship. Drawing on research which investigated the relationship between critical pedagogical theory and practice with 10 self-identifying critical pedagogues across eight English universities, I will explore the benefits and tensions of using a reflective dialogue approach, and the impact this methodology can have on researchers and participants. This chapter will make a case for RDs as both a practice for educators and as a methodology and explore how to do it, supported by relevant methodological literature, as well as the benefits and challenges of using RDs in social research, concluding with a discussion on how RDs might be used in other contexts to aid professional learning and reflection.

Education researchers have been urged to utilize causal inference methods to estimate the policy effect more rigorously. While randomized controlled trials (RCTs) are the gold standard for assessing causality, RCTs are infeasible in some educational settings, particularly when ethical concerns or high cost are involved. Quasi-experimental research designs are the best alternative approach to study educational topics not amenable to RCTs, as they mimic experimental conditions and use statistical techniques to reduce bias from variables omitted in the empirical models. In this chapter, we introduce and discuss the core concepts, applicability, and limitations of three quasi-experimental methods in higher education research (i.e., difference-in-differences, instrumental variables, and regression discontinuity). By introducing each of these techniques, we aim to expand the higher education researcher's toolbox and encourage the use of these quasi-experimental methods to evaluate educational interventions.

This chapter reflectively explores the idea of doing art-based research (ABR) through poetic methods for studying the experience of learning in higher education. Taking some literature on faculty development to exemplify different ways of experiencing learning, this chapter serves as a counterpoint to researching experiences of learning from a phenomenological approach. The fundamental reasoning for this is that the basic epistemological assumptions in phenomenology would limit our understanding of experiences of learning and thus, other methodological options would be worth exploring. To that end, this chapter elaborates on the relationship between knowledge production, speech and experience, all circling around the notions of research method and construction. Here, the aim is to reflect upon an understanding of research that is aligned with a dialogical and relational conceptualization of the experience of learning. Finally, an argument will be outlined that suggests conducting research as an experience. Taking from Dewey, Kvale, Law, Scheurich, Talmy and others, this exploration will present the idea of studying the experiences of learning by way of producing/devising experiences through arts. With the notion of art as experience from Dewey, the argument goes to ABR in a general sense, and poetry in particular, as a sound and coherent alternative way of researching learning as an experience. Thus, this chapter explores the possible theoretical-methodological contributions of thinking about and doing research understood as an experience through art.

This chapter came about, after five years of working with the Ngadjuri community on speculative student cultural centre designs. Ideation for those conversations and studio-based interactions, in addition to time and cultural tours spent on Country, revealed a variety of opinions and hopes that exist within the Ngadjuri community for a place to celebrate their cultural heritage. This heritage has an incredible history, and the idea of a cultural centre has been topical since the late Uncle Vince Copley Senior worked with other Ngadjuri community members such as Robert Rigney, on Country and in an advocacy role for Ngadjuri more than 30 years ago. This series of yarnings from a two-part transcription process re-awakens those desires of Elders now passed. The transcriptions are complemented with literature around yarning as a research methodology that delivers current, immediate, and insightful personal thoughts, although only as personal as the lead yarner wishes to share. In addition, the literature contextualises the key themes of which the yarnings divulge. Research has indicated how yarning interactions and interrelationships create a unique dynamic between the researcher and the community members. It is these rich experiences where knowledge is shared in a two-way exchange that is noteworthy for the galleries, libraries, archives, and museums [GLAM] sector. GLAM sector priorities must implement policy to pursue future Indigenisation of their epistemological methods and ontological systems. To address any future data curation of Ngadjuri cultural heritage materials on Country or in GLAM, hearing the personal stories and desires seemed timely and necessary.

Shortly before the Second World War, a woman who had never accepted her orphan status, Gabrielle Bonheur Chanel, nicknamed ‘Little Coco’ by her father and known as ‘Coco’ to her relatives, became the first women in history to build a world-class industrial empire. By 1935, Coco, a fashion designer and industry captain, was employing more than 4,000 workers and had sold more than 28,000 dresses, tailored jackets and women's suits. Born into a poor family and raised in an orphanage, she enjoyed an intense social life in Paris in the 1920s, rubbing shoulders with artists, creators and the rising stars of her time.

Thanks to her entrepreneurial skills, she was able to innovate in her methods and in her trendsetting approach to fashion design and promotion. Coco Chanel was committed and creative, had the soul of an entrepreneur and went on to become a world leader in a brand new sector combining fashion, accessories and perfumes that she would help shape. By the end of her life, she had redefined French elegance and revolutionized the way people dressed.

In recent years, the relationship between Manchester United fans and their club has been put under the spotlight due to the contentious relationship between the fanbase and the club’s American owners, the Glazer family. However, the commercialisation of Manchester United and their ramping up of their associated brand accelerated massively during the 1990s, as a result of the coincident timing of the country’s glamour club returning to dominance during a period of ever-greater financial returns for top-flight success. As the undoubted commercial trailblazers in English football (and the first English club to be listed on the Stock Exchange), analysing their development during the 1990s is, arguably, the best way of understanding how and why top-flight football clubs operate the way they do and, in a knock-on effect on the league’s competitiveness, why the clubs below them can so easily fall away.

The purpose of this article is to examine synergies between a eudaimonic model of psychological well-being (Ryff, 1989) and mental health practice. The model grew out of clinical, developmental, existential and humanistic perspectives that emphasized psychological strengths and capacities, in contrast to the focus on emotional distress and dysfunction in clinical psychology.

Conceptual foundations of the eudaimonic approach are described, along with the six components positive functioning that are used to measure well-being. These qualities may be important in facilitating the recovery experiences, which are of interest in Mental Health and Social Inclusion.

Four categories of empirical evidence about eudaimonia are reviewed: how it changes with aging, how it matters for health, what are its biological and neurological underpinnings and whether it can be promoted. Major contemporary forces against eudaimonia are also considered, including ever-widening inequality, the enduring pandemic and world-wide strife. In contrast, encounters with the arts and nature are put forth as forces for eudaimonia. The relevance of these ideas for mental health research and practice is considered.

Enormous suffering defines our contemporary world. Such realities call for greater attention to factors that undermine as well as nurture the realization of human potential, the core of eudaimonic well-being.

Mental health is often defined as the absence of mental illness. The novelty of the eudaimonic approach is to define mental health as the presence of well-being, assessed with different components of positive functioning.