Transcendental Phenomenological Analysis and Making Mobiles Ron Chenail Nova Southeastern University
Transcendental Phenomenological Analysis Many steps Interrelated parts Pragmatics and aesthetics Can seem overly abstract and complex
Transcendental Phenomenological Analysis Main Processes Epoché Bracketing Reduction Variation Synthesis
Epoché and Bracketing Setting aside prejudgments Opening the research interview with an unbiased, receptive presence Continuing this process throughout the analytical process
Phenomenological Reduction Horizonalization: Every statement has equal value Delimited Horizons or Meanings: Horizons that stand out as invariant qualities of the experience Invariant Qualities and Themes: Non-repetitive, non-overlapping constituents clustered into themes
Phenomenological Reduction Individual Textural Descriptions: An integration, descriptively, of the invariant textural constituents and themes of each research participant Composite Textural Description: An integration of all of the individual textural descriptions into a group or universal textural description
Imaginative Variation Vary Possible Meanings Vary Perspectives of the Phenomenon: From different vantage points, such as opposite meanings and various roles Free Fantasy Variations: Consider freely the possible structural qualities or dynamics that evoke the textural qualities
Imaginative Variation Construct a list of structural qualities of the experience Develop Structural Themes: Cluster the structural qualities into themes Employ Universal Structures as Themes: Time, space, relationship to self, to others; bodily concerns, causal or intentional structures
Imaginative Variation Individual Structural Descriptions: For each co-researcher, integrate the structural qualities and themes into an individual structural description of the experience Composite Structural Description: An integration of all of the individual structural descriptions into a group or universal structural description
Synthesis Synthesis of Composite Textural and Composite Structural Descriptions Intuitively-reflectively integrate the composite textural and composite structural descriptions to develop a synthesis of the meanings and essences of the phenomenon or experience Present findings
How To Make a Mobile The Secret: Start from the bottom and work to the top. [Reduction to Synthesis] There are many ways to design a work of hanging sculpture, and as many materials, [Many types of phenomenology] but the assembly is always the same: start from the bottom [But the steps are basically the same].
Select and Arrange the Pieces [Reduction and Textual Description] Find, create the shapes you wish [Horizonalization & Delimited Horizons]. Lay them on a large piece of paper and arrange them [Invariant Qualities and Themes]. Draw lines connecting the bottom or end pieces [Individual and Composite Textual Descriptions].
Begin Connecting the Pieces [Imaginative Variation] Start with the small end pieces first [Individual Structural Descriptions]. Then connect the middle systems together [Composite Structural Descriptions]
Balance the Top [Synthesis] The top bar is last [The Essence]. Connect the middle systems to the top bar [Intuitively-reflectively integrate the composite textural and composite structural descriptions]. Balance [Quality control]. Hang your new creation [Present your results]
Make Your Own Virtual Mobile Go to the US National Gallery of Art Mobile Maker and have fun! http://www.nga.gov/education/classroom/interactive/mobile.htm
Credits Transcendental Phenomenological Analysis slides excerpted from Moustakas, C. (1994). Phenomenological research methods. Thousand Oaks, CA: Sage. Color mobile slides are from Konrad's Mobiles http://www.konrads.com/ How to make a mobile slides excerpted from "Interactivity Kit" by Timothy Rose. Retrieved January 24, 2010, from http://www.mobilesculpture.com/makeyourownmobiles/
Contact Information Ron Chenail Nova Southeastern University, 3301 College Avenue, Fort Lauderdale, FL 33314-7796 USA Email: ron@nova.edu