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In diesem Beitrag befasse ich mich mit ethischen Herausforderungen der Biografieforschung am Beispiel eigener Erfahrungen im Rahmen einer Studie im Feld der politischen Partizipation. Im ersten Teil diskutiere ich grundsätzliche ethische Fragen der Biografieforschung, die mit der Erhebung und Auswertung von biografisch-narrativen Interviews einhergehen. Im zweiten Teil des Beitrages werden exemplarisch forschungsethische Aspekte und Probleme skizziert, die im Verlauf der Feldforschung aufgetreten sind und die Prämissen einer rekonstruktiv vorgehenden Biografieforschung herausfordern. Dazu gehören die informierte Einwilligung als dialogischer Prozess sowie die Anonymisierung und Rückmeldung von biografischen Daten in einem hochsensiblen Feld. Abschließend gehe ich der Frage nach, welche Möglichkeiten und Grenzen das Format der Forschungswerkstatt für die Reflexion von ethischen Fragen in der Biografieforschung bietet.
This paper reviews social network analysis (SNA) as a method to be utilized in biographical research which is a novel contribution. We argue that applying SNA in the context of biography research through standardized data collection as well as visualization of networks can open up participants’ interpretations of relations throughout their lives, and allow a creative and innovative way of data collection that is responsive to participants’ own meanings and associations while allowing the researchers to conduct systematical data analysis. The paper discusses the analytical potential of SNA in biographical research, where the efficacy of this method is critically discussed, together with its limitations, and its potential within the context of biographical research.
The following paper is about artists doing experimental and performative art who expect the spectators to become participants in the process of artwork production. The artwork is thus produced through a process of participation. As a researcher, I was similarly expected to participate in the artwork process. As I observed, the artists worked at having their agency in the artwork process recognized by the participating spectators. At the same time, the artists create a certain proximity to the spectators-participants through performing art, which I call "performing proximity." By involving the participants in their art-in-process, they make use of their agency to redefine the artworld and enlarge it into other social worlds. I also discuss how artists' ability to enact redefined social worlds can be compared to agency in performative social science and in biographical research.