Unlikely Qualities of Writing Qualitatively: Porous Stories of Thresholds, In-Betweeness and the Everyday.

OSGOOD, Jayne and HACKETT, Abigail (2024). Unlikely Qualities of Writing Qualitatively: Porous Stories of Thresholds, In-Betweeness and the Everyday. International Review of Qualitative Research.

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Official URL: http://dx.doi.org/10.1177/19408447241242425
Open Access URL: https://journals.sagepub.com/doi/epdf/10.1177/1940... (Published)
Link to published version:: https://doi.org/10.1177/19408447241242425


In this paper, we seek to intervene in the proposition that there are recognisable or abstract-able modes of doing qualitative writing, and instead affirm that writing from a feminist scholarly perspective is often an embodied, domestic, haptic and serendipitous gesture. Occurring in in-between spaces and moments, in which personal and professional life frequently meld, with porous boundaries, our writing practices appear to talk back rhetorically to the notion of writing qualitatively. What are the qualities of qualitative writing? Within education (our field) quality can seem to masquerade as a measurable, generalizable thing, implying a ‘gold standard’ or that different writing practices or products can or should be compared or ranked. For us, writing is frequently encountered as serendipitous, messy and intricately entwined with daily life at numerous scales. This is not to suggest that writing magically takes shape, but rather it is un-abstract-able from daily routines, situations and energies at local and global scales. In the middle of these situations, writing happens when it takes precedence, at whatever cost that might be to bodies, relationships and domestic schedules. Working with a range of feminist philosophers, we draw the temporal, situated, mattering of writing into focus. This paper engages in non-linear story-telling about the processes of our collaborative writing of this paper. We are particularly inspired by Stewart’s (2007:75) approach to writing to convey moments of ordinary life, which she describes as ‘a circuit that is always tuned into some little something, somewhere. A mode of attending to the possible and the threatening’. We dwell upon the somethings and the somewheres as a means to draw out the temporal passing by of life in all its messiness, as a piece of writing comes together, tracing moments of shimmering intensity and mundane frustration and distraction throughout the work.

Item Type: Article
Uncontrolled Keywords: 1399 Other Education; 44 Human society
Identification Number: https://doi.org/10.1177/19408447241242425
SWORD Depositor: Symplectic Elements
Depositing User: Symplectic Elements
Date Deposited: 15 Apr 2024 15:30
Last Modified: 16 Apr 2024 11:37
URI: https://shura.shu.ac.uk/id/eprint/33586

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