Alien Digest 2 by Creston

By Creston

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I tell them that if the CEO asks you how many factories the company should build, and you say ‘F-i-i--i-ve . . ” Of course, in this context, she is right: The situation she presents is a contest, and the prize goes to the one who knows more (or appears to know more). The interview, in contrast, is not a competition between knowers; it is a collaboration between thinkers, and it calls for a form of discourse similar to the poet Emily Dickinson’s “epistolary voice,” as described by Erika Schemer, a voice intended not to assert or announce, but to explore and engage, a voice suggesting a “mind thinking,” rather than a mind “havingthought” (1995, p.

I t is not just the idea of doing qualitative work that will sustain students; they need actually to have encountered specific pieces of work that inspire them and serve as models. Passion, in painting, whether it is of a landscape, still life, or another person, needs to drive the work. Cezanne loved the apples he painted. As a painter, you feel passionate about both the subject matter and the need to communicate what you see to others. Throughout the process, you must care enough about what you are working on to stick with it, even in the most difficult parts of the work.

The country of the pointed firs and other stories. New York: Doubleday. (Original work published 1886) Josselson, R. (1999). Introduction. In R. Josselson & A. ), Making meaning ofnarrutives: Vol. 6. The narrative study of lives (pp. ix-xiii). Thousand Oaks, CA: Sage. Rubin, W. ). (1996). Picasso and portraiture. New York: Museum of Modem Art. 28 SUZANNE C. OUELLETTE AN EPISTEMOLOGICAL APPROACH TO THE TEACHING OF NARRATIVE RESEARCH BLYTHE McVICKER CLINCHY I came to appreciate and to practice narrative research rather late in my career as a psychologist.

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