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This conceptual paper seeks to critically evaluate and illuminate the diverse autoethnographic methodologies that are pivotal for understanding the dynamics of contemporary workspaces. The objective is to contribute to the ongoing scholarly debate on the value of autoethnography in workplace research and explore how it can shed light on complex organizational phenomena.

The paper adopts a narrative literature review approach, focusing on four main forms of autoethnography: realist, impressionistic, expressionistic and conceptualistic autoethnographies. Each form is discussed and dissected, emphasizing their specific sub-forms and illustrating their application through representative examples. The paper engages in a critical debate on utilizing autoethnography in workplace research.

The findings illuminate how autoethnographic methods can be used to gain nuanced and complex understandings of personal experiences situated in workplace culture, as well as how broader social and cultural contexts shape these experiences. The study also highlights the potential of these methods to explore marginalized and silenced stories within workplaces and contribute to the knowledge on power dynamics, inequalities and injustices embedded in the organizational culture.

The following contribution discusses approaches for conducting autoethnographic explorations of selected work environments, offering researchers valuable insights into these methods' application. Through better comprehension and application of these methodologies, researchers can enhance their contribution toward cultivating more inclusive and equitable workplace environments.

The paper stands out in its extensive review and critical discussion of the autoethnographic methods as applied in workplace research. It expands upon individual autoethnographic studies by providing a comprehensive, multifaceted perspective, delving into the merits and limitations of these approaches in particular context of researching contemporary places of work.

The purpose of this paper is to provide an inside-out perspective on the practices and effects of talent management (TM) in a multinational organization.

The study adopts an autoethnographic approach focusing on the experiences of the first author during her employment in a multinational organization. This approach contributes to the literature by providing an insider talent perspective that thus far has not been presented in TM research.

Applying autoethnography as a means to address the inside-out perspective in TM reveals a tension. The authors label this phenomenon the “talent paradox,” defined as the mix of simultaneously occurring opportunities and risks for individuals identified and celebrated as a talent.

The paper may be of value to TM scholars and practitioners, as well as to employees who have been identified as high potentials or talents in their organizations. In contrast with the TM literature’s optimism, the findings illuminate that being identified as a talent may paradoxically produce both empowerment and powerlessness. Attending to personal aspects of TM processes is relevant for organizations as well as for individuals as it enables reflection and sensemaking.

The purpose of this paper is to understand the dynamic and power-laden nature of university–society collaboration from the individual academic's point of view.

This paper applies an autoethnographic approach in following a specific collaboration process through detailed fieldnotes and continuous reflections.

This research presents university–society collaboration as an emergent, volatile and fairly unpredictable process, involving a multitude of actors on both sides. The interactions among actors shape the emerging process and power relationships. The academic's situation could be understood in terms of multiple and shifting subject positions that could be embraced, accepted, resisted or surrendered to by the academic.

These findings may help academics with own experiences of collaboration to shed light on their observations. Novice academics, interested in collaborating with society, should be aware of the possibility of tensions and exercise of power in interactions with societal actors. When setting up collaboration agreements, academic and societal actors are advised to openly discuss potential problems and how to handle those.

This unique, in-depth testimony of a single collaboration process from the individual academic's point of view uncovers previously unobserved dynamic and political attributes of the process.

This study aims to propose a novel concept of choreography as a way of understanding co-creation of value and thus develops the spatial analytical dimensions of co-creation theorising.

This conceptual paper contemplates the meanings and possibilities of leveraging the theoretical underpinnings of value co-creation, from the viewpoint of value-in-experience.

The concept of choreography opens up a way to read knowledge as movement. It enables a way to elaborate on both the phenomenological and non-representational aspects of co-creation processes. Conceptualising co-creation through such a lens, where knowing is seen as an on-going, spatio-temporal and affective process formed in movement, posits opportunities to further understand the value co-creation practices of experiences. Choreography gives access to the kinaesthetic and affective nature of knowing gained in and through different spatio-temporal contexts and can, in turn, be mobilised in others.

Only a few studies have conceptualised co-creation in relation to a spatio-temporal phenomenon. Notably, this study connects co-creation with mobilities and thus constructs a novel view of knowledge and value creation.

This paper aims at examining the prospects and possibilities of autoethnography in trust research. The focus of this study is on trust-building in a management team from an esthetic leadership perspective. The empirical context of the study is the organization of higher education during a funding reform.

This study adopted a qualitative research strategy with co-produced autoethnographic methods. The data comprised the researcher's diary, field notes and written texts from informants. Autoethnographic methods were applied in data gathering; more precisely, the data were collected by the moving observing method of shadowing and complemented with the management team's written texts reporting their feelings. The data were analyzed by constructing autoethnographic vignettes and a critical frame story.

The findings of the study contribute to the methodological discussion of autoethnographic research when studying a complex phenomenon such as trust-building. The findings suggest that the role of authenticity in trust-building may vary depending on the esthetic leadership style. Furthermore, the findings contribute to the esthetic leadership theory by a proposal of esthetic reassurance as intentional leader-embodied communication aiming to reinforce follower trust in a leader.

Co-produced autoethnography is applied in studying trust-building. Furthermore, this paper provides an inside view of the meaning of esthetics in leader-follower relationships in higher education organizations.

Ficto-feminism is offered here as a creative method for feminist historical inquiry in management and organizational studies (MOSs).

This paper introduces a new method called ficto-feminism. Using feminist polemics as a starting point, ficto-feminism fuses aspects of collective biography with the emic potential of autoethnography and rhizomatic capacity of fictocriticism to advance not only a new account of history in subject but also in style of writing.

The aim of ficto-feminism is to create a plausible, powerful and persuasive account of an overlooked female figure which not only challenges convention but also surfaces her lost lessons and accomplishments to benefit today's development of theory and practice.

The paper reviews the methodological components of ficto-feminism and speaks to the merit of writing differently and incorporating fictional techniques.

To illustrate the method in action, the paper features a non-fiction, fictitious conversation with Hallie Flanagan (1890–1969) and investigates her role as national director of the Federal Theatre Project (FTP) (1935–1939). The FTP was part of the most elaborate relief programs ever conceived as part of the New Deal (a series of public works projects and financial reforms enacted in the 1930s in the USA).

The purpose of this paper is to explore a novel storytelling approach that investigates lived experience at the intersection of motherhood/caregiving and Ph.D. pursuits. The paper contributes to the feminist tradition of writing differently through the process of care that emerges from shared stories.

Using a process called heartful-communal storytelling, the authors evoke personal and embodied stories and transgressive narratives. The authors present a composite process drawing on heartful-autoethnography, dialogic writing and communal storytelling.

The paper makes two key contributions: (1) the paper illustrates a novel feminist process in action and (2) the paper contributes six discrete stories of lived experience at the intersection of parenthood and Ph.D. studies. The paper also contributes to the development of the feminist tradition of writing differently. Three themes emerged through the storytelling experience, and these include (1) creating boundaries and transgressing boundaries, (2) giving and receiving care and (3) neoliberal conformity and resistance. These themes, like the stories, also became entangled.

The paper demonstrates how heartful-communal storytelling can lead to individual and collective meaning making. While the Ph.D. is a solitary path, the authors' heartful-communal storytelling experience teaches that holding it separate from other relationships can impoverish what is learnt and constrain the production of good knowledge; the epistemic properties of care became self-evident.

This paper is a case study of student response systems used in large-class teaching. It considers the benefits, including the engagement of students and academic gains such as reduced administration. The constraints and impacts in classroom teaching are noted, drawing upon the experience of two teachers with their learning captured as a means of dissemination of practice to support other teachers who may be considering adopting and later adapting such practices (Gribble and Beckmann, 2023).

An autoethnographical account was undertaken using an action-learning approach as a sense-making exercise. These accounts enabled a depth of insight beyond the anecdotal evidence experienced by an individual teacher alone.

The findings show that while student response systems have constraints, these can be addressed by putting pedagogical concerns in front of any technology deployment, reaping benefits for students and teachers. Once engaged in using the system, students become more willing to enter further discussions. However, the limitations of both systems indicate that there may be a need for multiple systems to be available based on the pedagogical needs of the class.

The exploration of student response systems and outcomes of positive engagement by students in classroom settings provides insight to those wishing to explore such systems for use in large-class teaching settings.

This work extends discussions surrounding interactivity using student response systems. Additionally, practical insights from the users into their experiences with their students in using such systems provide alternatives for engagement in delivering large-class learning at scale.

As an exploration of how “impact” might be reconsidered, the purpose of this paper is to suggest that current contemporary understandings of “impact” fail practice and research by obscuring the space for reflexive criticality that is crucial for an individual or organisation to flourish. That it thus leads to an already predefined enculturated understanding of “impact”.

Offering some interrogation and folkloristic analogy of the meaning of “impact”, three brief expositions of differing arts-based práxes concerned mainly with reflection and connection, are then discussed through the lens of Ricœur’s et al. (1978) conflation of the hermeneutical process with phenomenology.

It is suggested that the implications of restoring, refreshing, or representing “impact” give license to a personal/professional revitalisation, and that reformulating an understanding of “impact” through re/search might offer a potential pedagogic tool, and alternative organising feature.

Through the introduction of inter-disciplinary thinking and práxes, the paper offers novel autoethnographic arts-based methods for personal, professional and organisational development and growth.