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The purpose of this paper is to illustrate the authors’ multiple subjectivities, in research and in practice which are ever shifting in context with each other. The authors present richness of understanding which can be revealed when researchers eschew consensus, certainty and easy solutions. The authors aim to show that plurality of ontological and epistemological approaches combined with diversity in understanding and subjective experience is necessary in qualitative research in organisations.

The authors take a playful and incomplete narrative approach in their critical reflection on the subjectivities being silenced or ignored in organisations and in academia. The authors present an unsettling and ambiguous read but the aim is to question the formulaic, linear, simplistic solutions and structures evident in organisations and academia that silence uncertainty, emotions, voice and creativity through standardisation and the rhetoric of collaboration for performance enhancement. This process the authors have termed philosophical violence.

The authors identify philosophical violence as a dominant theme in qualitative research, in organisational practice and within academia. In contrast, the authors’ embodied subjectivities preclude the reaching agreement or consensus too quickly, or indeed, at all. The authors’ embodied struggles add to the understanding of ambiguity, difference, critical reflexivity and understanding, providing richness and accommodating diversity and paradox in the inquiries in the organisations.

The authors show the struggles as hopeful and the non-collaborative collaboration as a resource from which the authors can individually and jointly develop new understandings of working and thus survive the philosophical violence found in organisations and in research. Honouring subjectivities is essential for rich qualitative research in organisations.

Since Barker, Gupta, and Iantaffi (2007), in both mainstream cultural products and academic literature dealing with BDSM, there has been an increase in emanations of the “healing narrative,” which suggests that BDSM practices offer therapeutic potential. However, no significant attempt has been made to explore in greater detail the problematic relationship between this healing narrative and the history of pathologization of sadomasochistic desires and practices. Barker et al. (2007) rightly point out that in suggesting BDSM has healing potential, one runs the risk of implying that individuals who practice BDSM are in need of healing to begin with. This could be damaging to the image of BDSM, which after centuries of pathologization finally appears to be moving into a realm of acceptability. However, the experiences of BDSM practitioners who describe their practices as healing should not be discounted and could actually help to cultivate a more positive reputation, which makes the issue a political one. In this chapter, through an exploration of the concept of “healing” in cultural objects such as the film Secretary (2002, directed by Steven Shainberg) and the Showtime cable television series Billions (2016–present), this issue will be investigated further, leading to a way out of the apparent double bind. The aim is to come to an understanding of the therapeutic potential of BDSM, which would not only reframe the discourse of pathologization surrounding BDSM but also further the political goal of creating space for BDSM practitioners to explore their desires without having to experience stigmatization.

The purpose of this paper is to investigate a group of Romanian injecting substance users “migrating” from heroin to novel psychoactive substances (NPS) as a counterpublic seeking to escape the stigma of drug abjection.

The findings are drawn from interview and observational data collected mainly at drug services sites in Bucharest, Romania.

The stimulant powders sold by head shops appealed to experienced drug users because they seemed to emulate a consumerist ethos and cultivate a healthy, rational agent that popular discourses of addiction deem incompatible with drug careers. NPS and head shops were thus initially understood as a possibility of escaping “junk identities”. However, they ultimately sealed injectors as abject bodies that obstructed the collaborative goals of rehabilitation and health restoration. A sense of symbolic distance shaped by notions of moral and bodily hygiene separated heroin and NPS users, as the latter increasingly came to be seen and see themselves as flawed consumers of health and freedom.

NPS retail spaces could present valuable opportunities to insert harm-reduction resources and harness counterpublic health strategies.

Dominant definitions of substance use as unavoidable paths into self-destruction push users towards unknown compounds they can attach more fluid meanings to. This suggests that prohibitionist language still obscures rational dialogue about existing and emerging drugs.

The paper traces ATS/NPS in an Eastern European context offering an alternative vantage point to harm-focused perspectives.

I consider the following question: given my commitment to creating an inclusive classroom environment where students of all backgrounds and skill levels can feel comfortable taking emotional and intellectual risks, how do I responsibly teach a course on American Life Writing in which students both read and write narratives of trauma, many of which stem from gender-based violence? With the rise of the #MeToo movement, especially, many survivors of this kind of violence feel compelled to share their stories as a way to heal themselves and to create communities of care and support. In some cases, this kind of disclosure can be restorative. But it is also important to recognize that sharing one's narrative of trauma does not always serve as a path to healing and wholeness. There is also power in choosing to tell part of one's story, sharing one's story only with a certain audience, or not disclosing one's story at all. The works that I assign in the seminar highlight these different paths to healing and model for students the ways in which a confessional model is not the only model for dealing with trauma. In this chapter, I first describe how feminist pedagogy shapes my teaching. Then I outline my approach to teaching life writing, focusing on how I teach texts that highlight trauma and how I teach the personal narrative assignment. Finally, I reflect on how these pedagogical practices might inform our larger conversations about gendered oppression, trauma, and healing.

In this article we consider how cultural resources rooted in religion help to constitute and animate people working in industrialized societies across both religious and nonreligious domains. We argue that redemptive self-narratives figure prominently in the symbolic constructions people attach to their experiences across the many domains of human experience; such redemptive narratives not only can shape their identities and sense of life purpose, they inform their practices and choices and animate their capacity for action. To consider how redemptive self-narratives can provide a basis for agency in organizations, we analyze and compare the career narratives of a retired Episcopal Bishop and a celebrated CEO.

Older adults often navigate periods of disruptive transition, such as rehousing, that can be understood in terms of ritual transformation, a concept that describes changes to the social self in terms of deconstruction, liminality and reconstruction. Music therapy can assist older adults’ movement through these stages. This paper aims to engage theoretical perspectives on ritual to consider the social and cultural transformation of these residents of a long-term care nursing home.

Ethnographic theory and literature on the ritual process are used to reflect on one music therapist’s (first author’s) experience providing music therapy to older adult residents of a long-term care nursing home. The therapist facilitated a collaborative “healing story” whose performative aspects engaged the residents in their own healing process. These experiences culminated in a group songwriting experience with a resident choir ensemble.

The healing narrative involved aspects of the person, selfhood, relationship and culture more than elements of physicality or functional abilities. Music therapists working with older adults may find this theoretical perspective informative in interpreting resident behaviors and needs, identifying and addressing therapeutic goals and fostering a healing narrative.

Care and interventions for older adults are often guided by the biomedical model of aging as an illness. While sociological and psychological theories of aging offer alternatives, these are not always prominent in interventions. This exploration of aging and transition as ritual transformation offers one such needed and insightful perspective to inform practice.

This study focuses upon the importance of group narrative work by ill and injured individuals who are participants/listeners/viewers in the reciprocity of testifying and witnessing one another’s stories. Their creative collaboration addresses a transformation of self that is engendered by illness and injury. An emphasis on narrative within a group setting offers tools to validate individual autonomy, build collective strength, and assist those in the group to gather momentum for the journeys that await each of them. The rationale and exercises described serve to complement and enhance traditional modes of healing.

Embedded in built environment discourse, this chapter examines the traditional knowledge and resilience of the Ngadjuri Nation Peoples through an Elder’s narrative of reconciliation as well as resistance in their subsisting colonial settlement. Removed from ‘Country’ in the 1840s, Ngadjuri Aboriginal community endured colonial industries of open-cut copper mining and large-scale pastoralism as irreparable destruction to their cultural landscapes. European processes in the resources sectors reshaped natural topographies, deconstructing Ngadjuri Songlines and Ancestral Dreaming stories. Burra’s colonial stone buildings of settlement, painstakingly cut and composed from materials of the surrounding ecological terrain, prompted new narratives from Ngadjuri as a way of alleviating scars. Broadly speaking, this chapter aims to show how cultural heritage of two communities is provocatively and conceptually unpacked through the vernacular buildings’ cross-cultural foundations. That is, an under-reported narrative was unwittingly bestowed on the colonial-built forms with hidden meanings that deserve further investigation. This chapter offers a counternarrative to colonial histories revealing Ngadjuri’s methods for reconnecting to Country and culture after generations of disempowerment. It explores how within the materiality of colonial structures, the Ngadjuri entwined their remediated storylines – revealing a data curation that had avoided popular discourse in the galleries, libraries, archives, and museums [GLAM] sector representation. This example implies there are bodies of knowledge in built cultural heritage hidden elsewhere on our Aboriginal Nations and the challenges it presents GLAM in their Indigenisation processes.

This paper aims to examine how a collaborative narrative inquiry focused on cultivating critical English Language Arts (ELA) pedagogies supported teacher agency, or “the capacity of actors to critically shape their own responsiveness to problematic situations” (Emirbayer and Mische, 1998, p. 971).

Situated in a semester-long inquiry group, eight k-16 educators used narrative inquiry processes (Clandinin, 1992) to write and collectively analyze (Ezzy, 2002) stories describing personal experiences that brought them to critical ELA pedagogies. They engaged in three levels of analysis across the eight narratives, including open coding, thematic identification, and identification of how the narrative inquiry impacted their classroom practices.

Across the narratives, the authors identify what aspects of the ELA reading, writing and languaging curriculum emerged as problematic; situate themselves in systems of oppression and privilege; and examine how processes of critical narrative inquiry contributed to their capacities to respond to these issues.

Collaborative narrative inquiry between teachers and teacher educators (Sjostrom and McCoyne, 2017) can be a powerful method to cultivate critical pedagogies.

Teachers across grade levels, schools, disciplines and backgrounds can collectively organize to cultivate critical ELA pedagogies.

Although coordinated opportunities to engage in critical inquiry work across k-16 contexts are rare, the authors believe that the knowledge, skills and confidence they gained through this professional inquiry sensitized them to oppressive curricular norms and expanded their repertoires of resistance.