Types, Areas, and Approaches of Autoethnography
Since autoethnography is a broad and ambiguous “category that encompasses a wide array of practices” (Ellingson & Ellis, 2008, pp. 449–450), autoethnographies “vary in their emphasis on the writing and research process (graphy), cuture (ethnos), and self (auto)” (Reed-Danahay, 1997, p. 2). According to Ellingson and Ellis (2008), autoethnographers recently began to make distinction between two types of autoethnography; one is analytic autoethnography and the other is evocative autoethnography.
Analytic autoethnographers focus on developing theoretical explanations of broader social phenomena, whereas evocative autoethnographers focus on narrative presentations that open up conversations and evoke emotional responses. (p. 445)
A special issue of the Journal of Contemporary Ethnography (Vol 35, Issue 4, August 2006) contains several articles on the diverse definitions and uses of autoethnography. An autoethnography can be analytical (see Leon Anderson), written in the style of a novel (see Carolyn Ellis's methodological novel The Ethnographic I), performative (see the work of Norman K. Denzin, and the anthology The Ends of Performance) and many things in between. Symbolic interactionists are particularly interested in this method, and examples of autoethnography can be found in a number of scholarly journals, such as Qualitative Inquiry, the Journal of the Society for the Study of Symbolic Interactionism, the Journal of Contemporary Ethnography, and the Journal of Humanistic Ethnography. It is not considered "mainstream" as a method by most positivist or traditional ethnographers, yet this approach to qualitative inquiry is rapidly increasing in popularity, as can be seen by the large number of scholarly papers on autoethnography presented at annual conferences such as the International Congress of Qualitative Inquiry, and the Advances in Qualitative Methods conference sponsored by the International Institute of Qualitative Methodology. The spread of autoethnography into other fields is also growing, and a recent special issue of the journal Culture and Organization (Volume 13, Issue 3, Summer 2007) explores the idea of organizational autoethnography.
Autoethnography in performance studies acknowledges the researcher and the audience as equally as important to the research. Portraying the performed 'self' through writing then becomes an aim to create an embodied experience for the researcher and the reader. This area acknowledges the inward and outward experience of ethnography in experiencing the subjectivity of the author. Audience members may experience the work of ethnography through reading/hearing/feeling (inward) and then have a reaction to it (outward), maybe by emotion. Ethnography and performance work together to invoke emotion in the reader.
Higher education is also featuring more as the contextual backdrop for autoethnography probably due to the convenience of researching one’s own organisation (see Sambrook, Stewart, & Roberts, 2008; Doloriert & Sambrook, 2009, 2011). Such contributions explore the autoethnographer as a researcher/ teacher/ administrator doing scholarly work and/or as an employee working in Higher Education. Recent contributions include Humphreys’ (2005) exploration of career change, Pelias' (2003) performance narrative telling of the competing pressures faced by an early career academic and Sparkes’ (2007) heartfelt story of an academic manager during the stressful Research Assessment Exercise (2008). There are several contributions that are insightful for the student autoethnographer including Sambrook, et al. (2008) who explore power and emotion in the student-supervisor relationship, Doloriert and Sambrook (2009) who explore the ethics of the student 'auto'reveal, Rambo (2007) and her experiences with review boards, and finally Doloriert & Sambrook (2011) discussion on managing creativity and innovation within a PhD thesis.
Another recent extension of autoethnographic method involves the use of collaborative approaches to writing, sharing, and analyzing personal stories of experience. This approach is also labeled "collaborative autobiography" (Allen-Collinson & Hockey, 2001; Lapadat, 2009), and has been used in teaching qualitative research methods to university students.
Autoethnography is also used in film as a variant of the standard documentary film. It differs from the traditional documentary film, in that its subject is the filmmaker himself or herself. An autoethnography typically relates the life experiences and thoughts, views and beliefs of the filmmaker, and as such it is often considered to be rife with bias and image manipulation. Unlike other documentaries, autoethnographies do not usually make a claim of objectivity. An important text on autoethnography in filmmaking is Catherine Russell's Experimental Ethnography: The Work of Film in the Age of Video (Duke UP, 1999). For Autoethnographic artists, see also Jesse Cornplanter, Kimberly Dark, Peter Pitseolak, Ernest Spybuck.
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