ORCID Profile
0000-0002-9616-6667
Current Organisation
University of South Australia
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Publisher: Routledge
Date: 17-04-2018
Publisher: Bristol University Press
Date: 10-2018
DOI: 10.1332/239868018X15409765841960
Abstract: ‘Women Like That’ is a poem written after overhearing a stranger say, in reference to domestic abuse, that they couldn’t understand ‘why women like that don’t just get out’. It is based on my personal experiences and, as such, responds to contemporary calls for first-person accounts that go beyond the contemporarily dominant social narratives around intimate partner abuse. The poem is here presented with a contextualising statement that discusses how the poem may be seen to reflect findings and arguments drawn from contemporary scholarly work around intimate partner abuse. The contextualising statement particularly considers contemporary research into issues of coercive control, why some abusees stay or defer leaving, and the challenges of moving forward.
Publisher: Bristol University Press
Date: 30-09-2022
Publisher: University of California Press
Date: 2022
Publisher: Australasian Association of Writing Programs
Date: 30-10-2020
DOI: 10.52086/001C.23523
Abstract: The earth presently suffers multiple anthropogenic (human-affected) environmental crises. Broad scale global issues like climate change now receive relatively high public attention, but need remains to look closely at localised problems and to enact dialogues about how environmental crisis manifests across differing geographical sites. Fusing the creative and collaborative techniques of research methodologies including duoethnography, poetic inquiry, and writing-as-research, this article stages an exchange through which two poets, one based in Kerala, India, the other in Adelaide, Australia, respond to one another’s writings about local environmental issues. In drawing on feminist and ecofeminist theories in connection with Félix Guatari’s work on the ‘three ecologies’, the article probes interconnections between environmental and social issues including but exceeding the ongoing effects of invasion or colonisation in both our countries the insufficiencies of official responses to catastrophes oppression and privilege based on gender and intersecting factors the globalised capitalist economy and more.
Publisher: Australasian Association of Writing Programs
Date: 29-10-2020
DOI: 10.52086/001C.23457
Abstract: This article reports on methods used to analyse creative writings as data in a collective biography research project undertaken by eight academics. All of us bear broadly feminist and/or queer outlooks, and all experience deep dissatisfaction with neoliberalism’s deepening on academia. We came together to witness shared struggles and imagine things otherwise. As outlined in Doing Collective Biography (Davies & Gannon 2006), collective biographers respond to themed writing prompts in a group workshop setting. The writings become data that the team analyses to generate, enrich and transform knowledges around the research theme. We followed these processes, but did collective biography differently by additionally incorporating analysis methods of narrative inquiry, poetic inquiry and performance studies. This article discusses the benefits and challenges these methods offered. Our objective is to share our learning with other researchers interested in pursuing similar projects.
Publisher: Australasian Association of Writing Programs
Date: 30-10-2020
DOI: 10.52086/001C.23513
Abstract: The articles in this special issue do not involve translation in the conventional sense of re-creating a text from one language for readers who come to it via another. All of them, however, involve acts of collaborative poetic inquiry across literal and metaphoric distances of culture, location, language, lived experience, and more. Poetic inquiry describes the multiple and erse range of research methodologies that in some way engage ‘the power of poetry to invite us as writers and readers into a very different, direct, and distinct way of being in and understanding the world and ourselves within it’ (Prendergast 2015: 683). In line with broader arguments such as that of Jen Webb for words as ‘good for thinking’ – or in other words generating knowledges, including but exceeding research knowledges (2010) – poetic inquiry valuably enables modes of thought and ways of knowing that differ from and complement those typically accessible through prose and other more commonly-practised modes of research writing. By Monica Prendergast’s account, this is particularly pertinent for research projects focused on ‘equity, human rights, and justice worldwide’, for ‘poetic inquiry invites us to engage as active witnesses within our research sites, as witnesses standing beside participants in their search for justice, recognition, healing, a better life’ (2015: 683).
Publisher: Australasian Association of Writing Programs
Date: 29-10-2020
DOI: 10.52086/001C.23458
Abstract: Our script Becoming-game is an assemblage in the spirit of Deleuze and Guattari’s (1987) concept of the assemblage as a contingent formation of elements that could equally be separate, differently formed and/or combined with other things altogether. It comprises fragments of our distinct creative writings around the theme of games from a collaborative creative writing research project in which we – eight academics from differing backgrounds, all bearing broadly feminist and/or queer outlooks – came together to share and compare our experiences and perspectives with the aim of realising strategies we can engage to resist inequality in and beyond academia today. Performing our assemblage enriched our appreciation of the multiple themes running in and across our writings – and thus of the complex games played in and through neoliberal academia. Theatre researcher and practitioner Di Niro directed our collective in translating the creative piece to a theatrical medium. We performed Becoming-game at the JM Coetze Centre’s ‘Scholarship is the New Conservative’ Symposium on 6 September 2019. Overall, this collaborative work speaks to games of power and privilege, especially although not only those of gender and late capitalist modes of production.
Publisher: Australasian Association of Writing Programs
Date: 29-10-2020
DOI: 10.52086/001C.23480
Abstract: This collaborative paper argues that on-c us open mic events enrich university culture, which in turn enriches holistic learning and wellbeing. To demonstrate, we present four accounts of Showpony, our university’s monthly creative performance and pop up bar night. Originally held in a pub near c us, Showpony shifted into a student lounge space in early 2018. The move followed queerphobic and ableist discrimination against Showpony participants making continued use of the public venue untenable. Initially, we went to c us out of necessity: there is no other nearby venue with a suitably-sized, fully-accessible performance space. However, since moving, we recognise that operating on c us provides other benefits. Showpony nights intervene in and to degrees, cuts through the institutional space. Or, in Deleuze and Guattari’s terms, Showpony introduces something smooth into an otherwise striated territory. This prompts different ways of being in and working through the space, fostering styles of learning and interaction that don’t necessarily occur in lectures or tutorials. Our paper’s four accounts of Showpony encompass staff and student perspectives, including participant as well as organiser viewpoints. We aim to elucidate how Showpony has enriched our university culture, and to provide insights for those interested in running similar events.
Publisher: Informa UK Limited
Date: 11-07-2023
Publisher: Australasian Association of Writing Programs
Date: 30-10-2019
DOI: 10.52086/001C.23582
Abstract: Duoethnography is a dialogic methodology originally developed for social, health, and educational research (Sawyer & Norris 2015). In duoethnography, co-researchers actively question both their collaborator(s) and themselves, seeking to reperceive issues from different angles, thereby looking to and beyond the peripheries of what is known and how. Our essay argues the benefits of duoethnography for creative arts research. Drawing on our reading of relevant scholarly literature, and on learning gleaned through past and ongoing duoethnographic collaborations, we begin by considering collaborative research writing broadly, including related and alternative approaches. Then we outline duoethnography’s history and defining features, before relating our use of duoethnography in our collaborative research. A key feature of our approach is that we weave scenes with fictionalised characters into our main duoethnographic dialogue. In this article, we share our process, intending to provide insights relevant to creative arts academics also interested in collaborative research approaches.
Publisher: Australasian Association of Writing Programs
Date: 20-08-2022
DOI: 10.52086/001C.37825
Abstract: This article approaches group fitness as a textual practice and site for creative writing research analysis. Through autoethnography and discourse analysis of cues from instructor DVDs, I demonstrate how choreographed barbell fitness classes appeal to people uprooted by personal and/or socio-economic upheavals. My treatment of uprootedness connects Hannah Arendt’s writings on twentieth-century totalitarianism with Simone Weil’s account of “the need for roots”. These I read in the context of moral philosopher Elizabeth Minnich’s call to revive Arendtian theory via attention to “the evils of banality”. The resulting reflections position group fitness as a practice that reflects and reinstates cultural attitudes. I also consider how analysis of group fitness can inform understanding of human responses to uprooting situations including 2020’s COVID-19 outbreaks and global financial challenges of the early twenty-first century. Observing that group fitness operates together with popular music, team sports, and fashion, I conclude by emphasising the need for ongoing critique of fitness alongside these and other ordinary-seeming aspects of our always-already unprecedented, never-normal lives.
Publisher: Springer International Publishing
Date: 2022
Publisher: Springer International Publishing
Date: 2018
Publisher: Informa UK Limited
Date: 16-03-2023
Publisher: Springer International Publishing
Date: 2021
No related grants have been discovered for Amelia Walker.