We have attempted to delineate various components of the researcher's participation in the reflection phase of descriptive psychology. The characteristic attitude or posture, operations for the comprehension of a particular event, and activities which achieve general knowledge have been touched upon. This presentation is a preliminary attempt to bring into view the complex process of analysis in descriptive research and is intended as an invitation to more faithful and detailed accounts of the process in the future.

Husserl’s (2023) “Paradox of the Psychological Reduction,” with support and elucidation from Husserl’s published writings, shows the necessity of employing the phenomenological epoché and reduction in order to perform valid psychological research. The relationship between the transcendental and psychological reductions, including their closeness, differences, and peculiar identity are explored. Although necessary, the phenomenological method does not guarantee true psychological knowledge but rather requires a reflexive, self-critical, self-corrective historical process that confronts and overcomes naturalistic prejudice and other misguiding assumptions and dogma (...) as well as superficial and flawed research performances. Phenomenological psychology and philosophy are inseparable, in a bidirectional relationship that informs the socio-cultural sciences including empirical psychology and all disciplines that study persons, communities, human artifacts, and humanity. The implications and relevance of phenomenological method are spelled out in light of the history and contemporary challenges of psychology. (shrink)

This investigation is motivated by the lack of scholarship examining the content of what firms are communicating to various stakeholders about their commitment to socially responsible behaviors. To address this query, a qualitative study of the legal, ethical and moral statements available on the websites of Forbes Magazine''s top 50 U.S. and top 50 multinational firms of non-U.S. origin were analyzed within the context of stakeholder theory. The results are presented thematically, and the close provides implications for social responsibility among (...) managers of global organizations as well as researchers interested in business ethics. (shrink)

Experiences with art have been of longstanding concern for phenomenologists, yet the psychological question of the appearing of art appreciation has not been addressed. This article attends to this lack, exemplifying the merits of a phenomenological psychological investigation based on three semi-structured interviews conducted with museum visitors. The interviews were subjected to meaning condensation as well as to descriptions of the first aesthetic reception, the retrospective interpretation, and the “horizons of expectations” included in the meeting with art. The findings show (...) that art appreciation appears as variations in experiential forms comprised of gratifying experiences of beauty, challenges to the understanding, and bodily-informed alterations of the emotions. The phenomenological psychology of actual, lived experience can embrace the phenomenological theories of art appreciation by Heidegger and Merleau-Ponty, yet highlight the psychological importance of experiences with art. (shrink)

The phenomenology of the creative process has been a neglected area of creativity research. The current study investigated the phenomenology of artistic creativity through semi-structured interviews with 11 artists. The findings consisted of 19 interlinked constituents, with 3 dynamics operating within these constituents: an intuition-analysis dynamic, a union-division dynamic, and a freedom-constraint dynamic. The findings are discussed in relation to the issues of creativity and spirituality, intuition and analysis, the creative synthesis, affective components, and flow. The findings display considerable overlap (...) with previous research into the phenomenology of the artistic creative process, yet place particular emphasis on the shift in sense of self associated with creative experience and the energising effect of a synthesis of disparate elements. (shrink)

The subjective experience of being an artist was examined using interpretative phenomenological analysis (IPA), focusing on the perspective of the artist but interpreted by me, a psychologist, from the perspective of artistic collaborator. Building upon a literature that has hitherto focused on clinical, elderly, or vulnerable participants, I interpreted superordinate themes of Process (Constraint, Playfulness, Movement) and Identity (The Ill-Defined Artist, Becoming, Mixing Identities, Choosing an Identity, Calling, Collaboration and Outsider). These themes are broadly similar to the existing literature, but (...) emphasise identity while de-emphasising self reflection and the need to become an ‘insider’. (shrink)

Preliminary existential hermeneutic phenomenological analysis of data based on 24 protocols, and our own reflexive discussion, reveals how “kindred spirit connections” manifest in myriad elusive, evocative ways. These special connections are experienced variously from briefly felt moments of friendship to enduringly profound body-soul love connections. This paper explicates five intertwined dimensions: shared bonding; the mutual exchange and affirmation of fellowship; the destined meeting or relationship; immediate bodily-felt attraction; and the pervasive presence of love. A wide ranging literature around the theme (...) of love is outlined and the concept of kindred spirit is briefly applied to the psychotherapy practice context. (shrink)

After 50 years of being profoundly deaf, Patricia finds her world ‘transformed’—literally and metaphorically—when she receives a cochlear implant. Her sense of self and the taken-for-granted, comfortable world she knew before surgery disappear and she is thrown into an alien, surreal existence full of hyper-noise. Entry into this new world of sounds proves a mixed blessing as Pat struggles to come to terms with her changing relationships, not only with others but also with herself. On good days, she is exhilarated (...) by all her sensory gains and her feeling of being more connected with and to the world. On bad days she is distracted and overwhelmed by the intrusive noise and she is forcibly confronted with the painful reality of her own disability. The challenge she confronts is not simply the cognitive-perceptual one of learning to discriminate between sounds. Pat must also re-orientate herself and learn to cope with her transformed self and world. She must undertake a journey to come to terms with her past, present and future being. Pat shared her story with me and together we undertook collaborative existential phenomenological research, co-creating a narrative of her journey over the year and a half following her implant. This paper presents this narrative followed by an existential analysis of Pat’s disrupted, changing lifeworld. (shrink)

This paper describes the lifeworld of one individual, Ann, in an attempt to elucidate the existential impact of early stage multiple sclerosis. Drawing on Ann's own reflections captured in a relatively unstructured interview, I construct a narrative around her first year of living with the diagnosis. Then, existential-phenomenological analysis reveals how Ann's life - lived in and through a particular body and lifeworld context - is disrupted. The unity between her body and self can no longer be taken for granted. (...) The existential possibilities inherent in her lived body are diminished and have to be renegotiated. Her sense of identity, project, relations with others and present/future plans are threatened. Ann's illness is encountered in the context of her life activities and relationships. This is the intertwining of body, self and world. To live with multiple sclerosis is to experience a global sense of disorder - a disorder which incorporates a changed relation with one's body, a transformation in the surrounding world, a threat to the self, and a change in one's relation to others. (shrink)

In phenomenological research, layered understandings emerge from a complex process of experiencing and reflection, engaged in by both researcher and participant. Researcher and participant engage in a dance, moving in and out of experiencing and reflection while simultaneously moving through a shared intersubjective space that is the research encounter. If researchers are to empathise - imaginatively project themselves into participants’ experience - they need to be open to this intersubjective space. First, I describe and reflect upon two particular moments of (...) empathy which have arisen in two different phenomenological research interviews. I then attempt to make sense of these encounters with reference to phenomenological theory and philosophy related to empathy and intersubjectivity. A final section discusses some dilemmas we face as researchers when we apply empathy in our phenomenological research practice and considers the epistemological status of our empathic findings. (shrink)

Sixteen Canadian men and women, part of eight intact couples who had experienced severe and recurrent wife assault, were interviewed individually regarding their worst experience of violence. The self-reports of both spouses of one of these couples is presented and analyzed with a view towards isolating the emerging constituents of their narratives. Additionally, preliminary findings resulting from the analysis of all of the couple's self-reports are presented in the second part of the paper. A gendered reconstruction of their narratives emerges (...) that mirrors the different positions men and women hold in experiences of wife assault. Finally, the main constituents derived from all the participant's selfreports are analyzed and discussed. (shrink)

This research investigates flow experiences and explores meaning construction for artistic practices that differ in haptic nature. In addition to the phenomenological analysis of interviews, videos of artistic practice and practice-based research were employed to obtain both retrospective and real-time records of the physicality of artistic practice. Drawing on authors who emphasise the automatisation of actions in flow and heightened body awareness flow is reconceptualised in non-representational terms as optimal precognitive engagement with the world. In this light meaning in flow (...) results not from bringing order to the mind as Csikszentmihalyi proposed, but through its embodied construction in activity. Analyses revealed that the sources of enjoyment and meaning, the relationship between artist, tools and artwork, and the nature and extent of self-differentiation differ between artists who work in two and three dimensions, and whose physical actions differ in the production of their artwork. 2D artists derive enjoyment from their creative process and meaning from capturing an atmosphere or place, and attribute artistic control to their artwork. 3D artists derive more enjoyment from the product of their artistic activity and meaning from the recreation of the self in material form, and do not attribute artistic control to the artwork. Consequently, embodied physicality of activity appears fundamental to similarities in flow experiences and meaning-making: accounts of flow and the meanings generated in activity differ between activities that differ in their haptic or performative nature but are similar among haptically similar activities. (shrink)

This article extends the study of a phenomenological investigation in which six participants wrote protocols and gave interviews describing the experience of being bored with their lives. This study found that the participants gradually became bored after they had compromised their life-projects for less desired projects. The participants felt emotionally ambivalent because they were thematically angry with others involved in their compromises while being pre-reflectively angry with themselves. The participants non-thematically adopted passive and avoidant stances toward their lives that allowed (...) their boredom to spread to more aspects of their lives. The participants' boredom led them to identity issues because they no longer were actively working toward projects. They felt empty and apathetic because they felt every action led to boredom, and thus action was futile. Preliminary distinctions between the experience of life boredom and depression are considered. (shrink)

As plagiarism is a notion specific to a particular culture and epoch, and is also understood in a variety of ways by individuals, particular attention must be paid to the putting of the phenomenological question, What is plagiarism in its appearing? Resolution of this issue leads us to locate students' perceptions and opinions within the lifeworld, and to seek an initially idiographic set of descriptions. Of twelve interview analyses, three are presented. A student who took an especially anxious line, his (...) morality having to do with the fear of being shamed were he to be accused of plagiarism in his work. A student who saw academic development as the movement from dependence on respected authors such that the novice's work is near plagiaristic, to autonomy and self-assured originality. A student whose degree involved painting and art history—disciplines with very distinct understandings of plagiarism. To combat plagiarism, then, one must not assume that students have a prior grasp of the unequivocal meaning of the notion, but must accept that a process of acculturation is required. (shrink)

Though there are few more pervasive features of the social world than the ebb and flow of individual participation, the literature only provides hints as to its phenomenology. The phenomenological investigation of social participation presented in this paper indicates that it essentially entails: 1. Attunement to the others' "stock of knowledge at hand" . 2. Emotional and motivational attunement to the group's concerns. 3. Taking for granted that one can contribute appropriately. 4. Being able to assume that one's identity is (...) not under threat. Though the implications can only be touched on in this paper, the phenomenological clarification of participation is a valuable resource, grounding many lines of research of contemporary significance-for instance, in education and the other "person professions" and in social policy and political science-and suggesting fruitful new perspectives. (shrink)

Phenomenological psychology is shown as a means to examine implications of mass-commodity culture, through the presentation of a phenomenological analysis of a TV commercial. This advertisement plays upon the vicissitudes of fathers' experiences of their relationships with their pre-pubescent daughters. The findings disclose an image of a father's ambivalently lived inability to tolerate his daughter's first sexual attraction to another male, and his attempt to continue to control the satisfaction of his daughter's bodily desire through commodities. The significance of and (...) alternatives to this variation are suggested. (shrink)

This paper explores a case example of qualitative research that applied productive hermeneutics and the central concept, fusion of horizons. Interpretation of meaning is a fusing of the researchers’ and subjects’ perspectives and serves to expand understanding. The purpose is to illustrate an exemplar of qualitative research without establishing a rigid recipe of methodology. The illustration is based on in-depth observational and textual data from an applied anthropological study conducted in western Alaska with Yup’ik hunters and fishers and government agency (...) employees as they worked towards collaborative management. The metaphor of the hermeneutical circle is showcased to help the reader understand the philosophical underpinnings and the analytical processes used to realize a meaningful interpretation. A series of organizing systems for the interpretation is described, culminating in a final organizing system to communicate a fully realized understanding of collaborative management at the time. (shrink)