Portraiture dissertation lawrence-lightfoot

The participants in this research wanted their stories told, and they wanted to be listened to. Further, the portraits allowed the nurses to have a voice, whether for emancipation or to explore or reflect on their specific circumstance of nursing in times of healthcare disarray Cope The portraits constructed are creative and interpretive, yet remain scholarly, crafted and cohesive narratives that capture the unique experiences in storied form, and using nursing voices that connect with readers on an individual level.

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The words of the participants and the interpreter the researcher or Portraitist meet and meld, blending in colour and texture, and chiaroscuro or shading, throughout the portraits. Therefore, replicating a study such as this would be difficult. This approach provides nursing research with portraits of real nurses and their experiences of contemporary nursing: stories that are diverse, yet resonant with the themes of resilience, presented through a palette of science and art. Every day, nurses encounter experiences that test them, and their ability both to resist and to maintain equilibrium through resilient behaviours was evident in their accounts of their experiences.

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In reflecting on contemporary nursing settings, Portraiture as methodology does not focus on negatives but rather bases its approach on successes, and thus it acts as a counter-narrative. Nine nurses from three distinct contemporary Australian nursing settings were observed and interviewed concerning resilience within their work, once ethical approval had been gained from the University and each healthcare site Project The portraits reflect workload, nurse management, education, residential aged care, and the general sense of what nursing is today.

The settings included residential aged care and acute tertiary hospitals, and involved middle managers and nurse academics. Their distinctive accounts of nursing resilience, embedded with observations around their resilience in context, express feelings and thoughts about their experiences and deliver messages in narrative form that are otherwise not easily articulated.

The Portraitist gathers, scrutinises, and organises the data and tries to make sense of what she has witnessed Lawrence-Lightfoot and Davis describe the method of Portraiture as: listening for a view of the whole interviewing ; taking some perspective reflecting ; illuminating the voice interpreting ; developing relationships, and seeking artistic refrains and emergent themes data analysis ; and composing the narrative or shaping the story to present the aesthetic whole the portrait. The Portraitist needs to be fully immersed in the story of each participant and to write and conclude that experience before moving on to the next Lawrence-Lightfoot This is because the writing of a portrait and the analysis of the data occur concurrently and continuously, and is aided by writing down and thinking about all of the new questions that reflection on each interview generated.

Constantly reflecting every day on what was found interesting, appealing, similar or dissimilar, and building upon the reflections as themes and insights emerge, enables the coherent construction of a finely crafted portrait. In this project, the nine nurses all had a story to tell and the Portraitist listened intently and actively; we were partners in the research process, espousing a holistic perspective, revealing the participants in their time and context, and embracing sensitivity Lawrence-Lightfoot This in turn offers the vivid description that leads to the emergence of artistic refrains or emergent or universal themes against the background of time.

Eight themes evidenced that the nurses were developing and maintaining personal resilience that had direct effect on why they chose to remain working within the health care environment, in times of duress. The participants represented here by pseudonyms are: 1. Mary-Anne : someone who is always looking on the bright side. She points to a resident walking by, clutching a bottle of antiseptic hand gel to her bosom.

One day, you know, she collected all the washing from the laundry which was mainly knickers and then she flung them all out of her window.

They landed on a bush — it looked like a knicker tree! Maggie is probably short for magical because I sat down with her, for my first interview, and it was such a thrill to begin! It was the beginning of my research journey and it was a great dialogue. Maggie was giving me insights into her life story, tales of her resilience, and demonstrating her humour throughout. I instinctively knew that the write up of her portrait was going to be magical.

April who, when I asked if she had considered involvement in the research, nodded her head enthusiastically and reached immediately for the forms to fill in. My mother always wanted to call me April.

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Grace sees her work as giving her the opportunity to unearth her heart, and in the process extend her soul and her spiritual existence, through her nursing and midwifery teaching philosophy. Lucky , who is biding her time. Although she is committed to the here and now of nursing and midwifery, she has big plans for her future.

Ginger arrives, and is happy to sign the consent forms prior to interview.

Vivien is a skilled professional taking stock of her nursing career and her life, which are both experiencing huge change and upheaval. We saved our money and went to the Rolling Stones concert — wowee! White Reign Edited by Joe L. Kincheloe, Shirley R. Steinberg, Nelson M.

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Portraiture dissertation lawrence-lightfoot
Portraiture dissertation lawrence-lightfoot
Portraiture dissertation lawrence-lightfoot
Portraiture dissertation lawrence-lightfoot
Portraiture dissertation lawrence-lightfoot

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