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Interviewers possess a certain power because they have both taken and been given authority to ask questions (and to expect answers) that most people do not get to ask the subject. The subject can claim or reclaim power by refusing to answer questions, or by lying. The researcher can reclaim some of that power by the fact that getting to serve as an expert can be deeply rewarding to the subject, who will not want to relinquish the role of expert.
The interviewer tends to have the power of a prestigious institution such as a university behind her or him, which can shift power to the interviewer, especially in research projects in which there is already a power social or economic differential between researcher and subject. However, sometimes the power that the interviewer holds because of her or his association with an institution can be countered by the power of a subject, such as a subject who is a high-ranking police officer as in the study cited above.
The more aware a researcher is about these power dynamics that exist in the relationship between researcher and subject (as expressed through whatever methodological tools are chosen) the more valid and reliable the data will be that are gathered. The quality of research always depends on the quality of the research design, and in the case of qualitative research in the humanities, part of the research design...
Moving beyond looking at interviews as a collaborative process (albeit one in which the two sides may have different levels of power and commitment to the process) to looking at interviewing as a form of performance.
Such a dramaturgical analysis hearkens back to Erving Goffman, but Denzin extends this analysis by adding in elements of postmodern theory. He argues that both people involved in an interview have a far greater degree of control over how the other person sees them than they realize. Even more than this, each person involved in the interview has a far greater degree of control over the nature of their own reality than they tend to realize.
An ethnographic interview thus, according to Denzin, is a set of parallel performances in which each person is actively arranging their experiences to make their own world meaningful to themselves within the context of their social and cultural world even as they also try to mold the other person's behavior and assessment of self. Seen in this respect, each interview has clear agonistic features to it that, carefully and insightfully managed, can allow for deeply insightful and rigorous research.
Denzin (2001) takes an even more radical assessment of the ways in which interviewer and subject interact (or can interact) with each other. Moving beyond looking at interviews as a collaborative process (albeit one in which the two sides may have different levels of power and commitment to the process) to looking at interviewing as a form of performance.
Such a dramaturgical analysis hearkens back to Erving Goffman, but Denzin extends this analysis by adding in elements of postmodern theory. He argues that both people involved in an interview have a far greater degree of control over how the other person sees them than they realize. Even more than this, each person involved in the interview has a far greater degree of control over the nature of their own reality than they tend to realize.
An ethnographic interview thus, according to Denzin, is a set of parallel performances in which each person is actively arranging their experiences to make their own world meaningful to themselves within the context of their social and cultural world even as they also try to mold the other person's behavior and assessment of self. Seen in this respect, each interview has clear agonistic features to it that, carefully and insightfully managed, can allow for deeply insightful and rigorous research.
The Young Lords suffered social seclusion within the society until they engaged in fighting for their own right. As exemplified from the text, they collected and hipped it in the middle of the street, and after the garbage spilled all over the streets, the department of health collected and since then paid great tribute to the young lords. For a very long time, the Young Lords struggled to attain a
Is Feminist Theory an Independent Social Theory?IntroductionAs Ritzer (2011) notes, �a starting point of agreement among nearly all varieties of feminist theory is an understanding of gender as a social construction, something not emanating from nature but created by people as part of the processes of group life� (p. 455). This is an important point because it provides the framework or underlying fundamental principle of feminist theory: it is a
As such, she fails to address the central problem of feminism in the Pontellier perspective, namely the impossibility of female individuality and independence in a patriarchal world. It is only in isolation that Edna can find any happiness, and she must make this isolation more and more complete in order to maintain her happiness, as the patriarchy has a means of encroaching on all populated areas, and Wollstonecraft's feminism
Introduction The Central Question How important is it that IR (International Relations) scholars reflect on the relationship between power and knowledge? From a feminist theory perspective, it is critical for IR scholars to highlight the relationship between power and knowledge in order to uncover the gender dynamics of power and knowledge in an IR setting. Feminism is more than simply a theory about women—it also provides a framework for understanding gender and
Angela Carter's The Blood Chamber and Other Stories is, what some interpret as a feminist text. It was written by a heterosexual woman and depicts a heterosexual female's sexuality along with things that otherwise would not be seen, especially at that time, in literature. Such stories like "Wolf-Alice" within the text show (in essence) how women are subdued by the constrains of society, but also (in a sense) benefit from
" In other words, that art springs from within, rather than must be supported from without. The author places the blame for female artists to be culturally central squarely upon culture itself, specifically Western culture's failure to create systems of educational nurturing for females. "The fault lies not in our stars, our hormones, our menstrual cycles, or our empty internal spaces, but in our institutions and our education -- education understood