Chapter 2: Doing Research in the Real World by David Gray

2

Hermeneutic Phenomenology and Phenomenology: A Comparison of Historical and Methodological Considerations

"a variety of research methodologies have grown in popularity including phenomenology, ethnography, grounded theory, and hermeneutic phenomenology (Denzin & Lincoln, 2000). As this has occurred, concern has risen about the use of qualitative methodologies without sufficient understanding of the rigor necessary to ethically utilize them (Maggs–Rapport, 2001). More specifically, phenomenology and hermeneutic phenomenology are often referred to interchangeably, without questioning any distinction between them. The purpose of this article is to discuss the early philosophical development of selected key issues related to phenomenology and hermeneutic phenomenology and support the position that differences and similarities exist. This exploration will begin with the phenomenology of Husserl and then move to explore heremeneutic phenomenology through Heidegger and Gadamer. Exploration will be given to how these different philosophical perspectives have an impact on the practice of phenomenology and hermeneutic phenomenology as research methodologies."

(Susann M. Laverty, 2003)

Laverty, S. M. (2003). "Hermeneutic phenomenology and phenomenology: A comparison of historical and methodological considerations". International Journal of Qualitative Methods, 2(3). Article 3. Retrieved 06 January 2013 from http://www.ualberta.ca/~iiqm/backissues/2_3final/html/laverty.html

Creative Practice as Research: 'Testing Out' the Systems Model of Creativity through Practitioner Based Enquiry.

"Michael Crotty (1998) argues that in all academic research there are layers of meaning that connect the basic assumptions with which a researcher underpins their work to the methodological techniques they use. These layers range from ontological and epistemological ones, through theoretical perspectives that spring from these ontologies, to methodologies used to investigate these theoretical perspectives, and then on to the techniques of action embedded in the research methodologies. These layers are all intimately connected, in as much as the 'justification of our choice and particular use of methodology and methods is something that reaches into the assumptions about reality that we bring to our work' (Crotty 1998, p. 2). As Ruddock argues:

'ontology and epistemology are significant in that they illustrate how research begins by outlining theoretical suppositions that are taken as given by the researcher. Ontology relates to how we understand the nature of reality...epistemology refers to a theory of knowledge. It is related to ontology in that the nature of the reality you set out to explore influences the sort of knowledge that you can have of it...methodological implications follow. Observation, measurement and interpretation depend on the understanding of the ontological and epistemological nature of the work at hand' (2001, p.27).

Following on from these ideas one could argue that if there is little distinction to be made between science as a creative process and art as a creative process, as is assumed by many of those investigating creativity (Rothenberg & Hausmann 1976, Evans & Deehan 1988, Bailin 1988, Weisberg 1993, Gardner 1993, Csikszentmihalyi 1997 & 1999, Sternberg 1988 & 1999, Boden 1994 & 2004), then the possibility exists that a similar set of ontological and methodological layers may be built up from within art practice that should resemble, in principle, those that are at the heart of traditional scientific research. "
(Philip McIntyre, 2006)

2006 P. McIntyre, for Speculation and Innovation: applying practice led research in the Creative Industries