3/5, 2024 - TQR - Qualitative 42

今天创建了一个新的文件夹：Qualitative 42

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这是呼应很久之前的一个主题：既然有量化自我，为何没有质化自我？最近我的一系列创作，都在呼应这个话题。

meaning discovery → self as subject

experience as data

creative life theory → self as researcher

creative life curation

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看来这本书可以重新定位为一个方法论层面的书籍：

A Qualitative Research Method for Mapping Creative Life

这个新的副标题，参考 Recursive Frame Analysis: A Qualitative Research Method for Mapping Change-Oriented Discourse

In the early 1980s, Bradford Keeney spent nearly a decade as a scholar of therapeutic communication. Hired by the Menninger Foundation in Topeka, Kansas, one of the historical bastions of psychoanalysis, psychotherapy, and family therapy1, his position was that of a “communications analyst.” This invented professional title referred to being an observer and critical commentator on what takes place in therapy sessions. Keeney would film major therapists at work, and then repeatedly and exhaustively observe the recordings while discerning any relevant patterns that...

In family therapy, both Nathan Ackerman and Murray Bowen, among others, were originally affiliated with the Menninger Foundation.

... emerged. He continued doing this at the Ackerman Institute for Family Therapy in New York City, the Philadelphia Child Guidance Clinic, and for the clinical work of well‐known practitioners that included Olga Silverstein, Carl Whitaker, Luigi Boscolo, Gianfranco Cecchin, John Weakland, Jay Haley, Nathan Ackerman, Salvador Minuchin, and H. Charles Fishman, among others.

The first presentations of this work included outlining the movement of therapeutic themes in a case conducted by Olga Silverstein (Keeney & Silverstein, 1986), followed by an analysis of major schools of systemic therapy in Mind in Therapy: Constructing Systemic Therapies (Keeney & Ross, 1985). Subsequently, a book series was launched with the Guilford Press entitled, The Art of Systems Therapy that aimed to analyze the communication patterns of renowned systemic‐ oriented therapists. The first volume, The Therapeutic Voice of Olga Silverstein was published in 1986 and was to be followed by volumes on Carl Whitaker and other therapy notables. Instead, Keeney abandoned the series in favor of developing a qualitative research method he called “Recursive Frame Analysis” (Keeney, 1991). This method provided a concise way of presenting a single session or whole sequence of sessions as moving from an impoverished beginning to a resourceful ending, generally sketched as follows:

...

Decades later, Keeney partnered with his wife and professional colleague, Hillary Keeney, and returned to elaborating this orientation to transformation and change in their works, Circular Therapeutics: Giving Therapy a Healing Heart (H. Keeney & B. Keeney, 2012) and Creative Therapeutic Technique (H. Keeney & B. Keeney, 2013).

This collective body of work completes the radical proposal boldly suggested by Keeney (1991) in Improvisational Therapy, though first called for in his earlier book, Aesthetics of Change (Keeney, 1983).

Namely, he called for therapy to be contextualized as an inventive art form, belonging more to theatre than social science. In this setting RFA could provide a means of scoring performance for both analysis and enactment.

p.23

The purpose of recursive frame analysis is multifold. First, it provides a simple way of case note keeping, whether used in social work, counseling, therapy, mediation, business consultation, international diplomacy, labor negotiation, or the literary arts. It significantly extends the way in which the screenplay paradigm or three act literary form has been useful to discerning simple plot lines. With it, note taking can be done in real time during a session, or afterwards. It can be as brief or as detailed as the practitioner desires. This contribution alone helps avoid the confusion in which practitioners of change‐oriented communication too easily find themselves. It facilitates brief, concise, and precise articulations of what is going on and not going on in a conversational episode.

When RFA is elaborated with finer distinctions that underscore the dynamics that enable a plot line to be advanced, regressed, or modified, we find a powerful qualitative methodology that enables patterns of change to be clearly identified, marked, and analyzed. The science of the art of effective, transformative communication has been retarded by not having an appropriate means of referencing the patterns that indicate the changes of interest.

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