This book identifies and describes facets of poetic inquiry, a research method/methodology/tool that uses poetry in the research process (information gathering, analysis and/or dissemination). Specifically, this book explores how and why it is in use, provides revelations around its unparalleled function(s) in research, and presents an exemplification of a close reading approach, trialled in the study framed in the book, that can draw further knowledge from the products of poetic inquiry studies. Poetic inquiry studies are somewhat established, and their findings are being published in academic journals and books however, poetic inquiry is currently undertheorized and noticeably missing from notable research methods textbooks and publications that discuss the merits of arts-based research. This may have the negative result of knowledge being lost or overlooked that could hold answers to previously unanswered questions that exist across the disciplines. In response to this problem, this book (drawing from the doctoral research study therein), highlights poetic inquiry’s theoretical underpinnings and pragmatic uses in research and scholarship that can be adopted and adapted by new and established scholars. This is done using the tenets of poetic inquiry as a frame and includes in-depth literature review and an exploration of the findings of interview with four notable poetic inquiry scholars in education in Canada. Detailed profiles for each participant have been created to analyze and emphasize their distinctive poetics and approaches to scholarship. Lastly, this book considers ways that poetic inquiry can inform teaching practices, as poetry is seen to permeate the participants’ lives and influence their approaches to teaching at the post-secondary level. This book is written for both early career and well-established scholars who have an interest in exploring ways that poetic inquiry (which marries art and epistemology) can enhance their research and teaching practices.

This edited volume illustrates various definitions and uses of poetry in research and scholarship, both across disciplines and across the world. The collection offers a worldview of the capacity of poetic inquiry to enhance research and scholarship by showcasing rigorous poetics (which [re]present epistemology and aesthetics as synergistic) in action. Each chapter is intended to highlight diverse perspectives and uses of poetic inquiry, thereby highlighting commonalities and differences in praxis, that include: - Critical discussion around poetry and its uses in each poet-scholar’s diverse practices (e.g., research, writing, personal development, healthcare, mental health, ecology and/or scholarship). - An example of poetry that showcases their approach(es) in action. - Insights into the crafting of their poetry (i.e., what choices were made? why were specific choices made?)
- An exploration of how their poetic work links to the vast rhizomatic array of poetic inquiry. This volume is well-suited for new scholars, looking for ways to integrate poetry into their praxis, and experienced scholars who wish to further their understanding of the capaciousness of poetic inquiry as a valuable method, methodology, tool and/or approach. It also holds insights for those interested in the power of poetry as it relates to mental health, health care, ecology, teaching, qualitative research and identity work.

This volume takes up themes emergent from the 7th International Symposium on Poetic Inquiry (ISPI) which invited participants to reflect on the United Nations Declaration of 2019 as the International Year of Indigenous Languages. In this refereed collection, Indigenous and non-Indigenous authors use poetic inquiry to explore the importance of their ancestral languages and lands, and consider the Indigenous languages and peoples of the lands where they live. Situated in diverse global contexts, poet-researchers examine the intersectionality of their languages, their lands, and their sense of belonging. They offer relational understandings of, and articulate obligations for, their environment and communities. Through stories of shared generational pain and renewal, each author brings the reader into their world of learning and growth. They do this through discourses of belonging and relational responsibilities that tie them to a place, a genealogy. As a method of study that incorporates poetry into academic research, poetic inquiry is concerned with particularity, complexity, and transformations. Making research more visceral and evocative, it invites researchers to examine and engage with the knowledge they seek through a continual process of questioning, welcoming, and awareness. In this volume, poetic inquiry helps to honor languages and histories taken for granted; it allows looking back in order to reexamine, redefine, and make sense of the present and its shortcomings while reimagining a different future. This work seeks to reclaim, through poetic inquiry, wisdom of language, land, and belonging.

Elizabeth DeLoughrey invokes the cyclical model of the continual movement and rhythm of the ocean (‘tidalectics’) to destabilize the national, ethnic, and even regional frameworks that have been the mainstays of literary study. The result is a privileging of alter/native epistemologies whereby island cultures are positioned where they should have been all along—at the forefront of the world historical process of transoceanic migration and landfall. The research, determination, and intellectual dexterity that infuse this nuanced and meticulous reading of Pacific and Caribbean literature invigorate and deepen our interest in and appreciation of island literature. —Vilsoni Hereniko, University of Hawai‘i "Elizabeth DeLoughrey brings contemporary hybridity, diaspora, and globalization theory to bear on ideas of indigeneity to show the complexities of ‘native’ identities and rights and their grounded opposition as ‘indigenous regionalism’ to free-floating globalized cosmopolitanism. Her models are instructive for all postcolonial readers in an age of transnational migrations." —Paul Sharrad, University of Wollongong, Australia Routes and Roots is the first comparative study of Caribbean and Pacific Island literatures and the first work to bring indigenous and diaspora literary studies together in a sustained dialogue. Taking the "tidalectic" between land and sea as a dynamic starting point, Elizabeth DeLoughrey foregrounds geography and history in her exploration of how island writers inscribe the complex relation between routes and roots. The first section looks at the sea as history in literatures of the Atlantic middle passage and Pacific Island voyaging, theorizing the transoceanic imaginary. The second section turns to the land to examine indigenous epistemologies in nation-building literatures. Both sections are particularly attentive to the ways in which the metaphors of routes and roots are gendered, exploring how masculine travelers are naturalized through their voyages across feminized lands and seas. This methodology of charting transoceanic migration and landfall helps elucidate how theories and people travel, positioning island cultures in the world historical process. In fact, DeLoughrey demonstrates how these tropical island cultures helped constitute the very metropoles that deemed them peripheral to modernity. Fresh in its ideas, original in its approach, Routes and Roots engages broadly with history, anthropology, and feminist, postcolonial, Caribbean, and Pacific literary and cultural studies. It productively traverses diaspora and indigenous studies in a way that will facilitate broader discussion between these often segregated disciplines.

Essays, conversations, and archival investigations explore the paradoxes, limitations, and social ramifications of trans representation within contemporary culture. The increasing representation of trans identity throughout art and popular culture in recent years has been nothing if not paradoxical. Trans visibility is touted as a sign of a liberal society, but it has coincided with a political moment marked both by heightened violence against trans people (especially trans women of color) and by the suppression of trans rights under civil law. Trap Door grapples with these contradictions. The essays, conversations, and dossiers gathered here delve into themes as wide-ranging yet interconnected as beauty, performativity, activism, and police brutality. Collectively, they attest to how trans people are frequently offered “doors”—entrances to visibility and recognition—that are actually “traps,” accommodating trans bodies and communities only insofar as they cooperate with dominant norms. The volume speculates about a third term, perhaps uniquely suited for our time: the trapdoor, neither entrance nor exit, but a secret passageway leading elsewhere. Trap Door begins a conversation that extends through and beyond trans culture, showing how these issues have relevance for anyone invested in the ethics of visual culture. Contributors Lexi Adsit, Sara Ahmed, Nicole Archer, Kai Lumumba Barrow, Johanna Burton, micha cárdenas, Mel Y. Chen, Grace Dunham, Treva Ellison, Sydney Freeland, Che Gossett, Reina Gossett, Stamatina Gregory, Miss Major Griffin-Gracy, Robert Hamblin, Eva Hayward, Juliana Huxtable, Yve Laris Cohen, Abram J. Lewis, Heather Love, Park McArthur, CeCe McDonald, Toshio Meronek, Fred Moten, Tavia Nyong'o, Morgan M. Page, Roy Pérez, Dean Spade, Eric A. Stanley, Jeannine Tang, Wu Tsang, Jeanne Vaccaro, Chris E. Vargas, Geo Wyeth, Kalaniopua Young, Constantina Zavitsanos

This book takes a close look at places of learning located outside of schools, yet deeply concerned with the experience of the learning self. It explores what it might mean to think of pedagogy not in relation to knowledge as a "thing made," but to knowledge in the making.

This volume offers chapters written by some of the most respected narrative and qualitative inquiry writers in the field of music education. The authorship and scope are international, and the chapters advance the philosophical, theoretical, and methodological bases of narrative inquiry in music education and the arts. The book contains two sections, each with a specific aim. The first is to continue and expand upon dialogue regarding narrative inquiry in music education, emphasizing how narrative involves the art of listening to and hearing others whose voices are often unheard. The chapters invite music teachers and scholars to experience and confront music education stories from multiple perspectives and worldviews, inviting an international readership to engage in critical dialogue with and about marginalized voices in music. The second section focuses on ways in which narrative might be represented beyond the printed page, such as with music, film, photography, and performative pieces. This section includes philosophical discussions about arts-based and aesthetic inquiry, as well as examples of such work.