This article examines five common misunderstandings about case-study research: (1) Theoretical knowledge is more valuable than practical knowledge; (2) One cannot generalize from a single case, therefore the single case study cannot contribute to scientific development; (3) The case study is most useful for generating hypotheses, while other methods are more suitable for hypotheses testing and theory building; (4) The case study contains a bias toward verification; and (5) It is often difficult to summarize specific case studies. The article explains and corrects these misunderstandings one by one and concludes with the Kuhnian insight that a scientific discipline without a large number of thoroughly executed case studies is a discipline without systematic production of exemplars, and that a discipline without exemplars is an ineffective one. Social science may be strengthened by the execution of more good case studies.

Five Misunderstandings About Case-Study Research

This article examines five common misunderstandings about case-study research: (a) theoretical knowledge is more valuable than practical knowledge; (b) one cannot generalize from a single case, therefore, the single-case study cannot contribute to scientific development; (c) the case study is most useful for generating hypotheses, whereas other methods are more suitable for hypotheses testing and theory building; (d) the case study contains a bias toward verification; and (e) it is often difficult to summarize specific case studies. This article explains and corrects these misunderstandings one by one and concludes with the Kuhnian insight that a scientific discipline without a large number of thoroughly executed case studies is a discipline without systematic production of exemplars, and a discipline without exemplars is an ineffective one. Social science may be strengthened by the execution of a greater number of good case studies.

/pdf/five-misunderstandings-about-case-study-research-5fjkxsjtxc.pdf

Part 1: Social Analysis, Discourse Analysis, Text Analysis 1. Introduction 2. Texts, Social Events, and Social Practices 3. Intertextuality and Assumptions Part 2: Genres and Action 4. Genres 5. Meaning Relations between Sentences and Clauses 6. Types of Exchange, Speech Functions, and Grammatical Mood Part 3: Discourses and Representations 7. Discourses 8. Representations of Social Events Part 4: Styles and Identities 9. Styles 10. Modality and Evaluation 11. Conclusion

http://disciplinas.stoa.usp.br/pluginfile.php/270695/mod_folder/content/0/ii.%20Norman_Fairclough_Analysing_discourse.pdf?forcedownload=1

Analysing Discourse: Textual Analysis for Social Research

The Wretched of the Earth

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The Practice Of Everyday Life

Telling, showing, showing off the value factory the talking museum museumtalk first person, second person, same person a postcard from the edge the story of W 8 - his master's eye head-hunting.

Double exposures : the subject of cultural analysis

The double question whether visual culture studies is a discipline or an interdisciplinary movement, and which methods are most suited to practice in this field, can only be addressed by way of the object. This article probes the difficulty of defining or delimiting the object of study without the reassuring and widespread visual essentialism that, in the end, can only be tautological.

Visual essentialism and the object of visual culture

As period, as style, as sensibility, the Baroque remains elusive, its definition subject to dispute. Perhaps this is so in part because baroque vision resists separation of mind and body, form and matter, line and color, image and discourse. In "Quoting Caravaggio", Mieke Bal deploys this insight of entanglement as a form of art analysis, exploring its consequences for both contemporary and historical art, as well as for current conceptions of history. Mieke Bal's primary object of investigation in "Quoting Caravaggio" is not the great 17th-century painter, but rather the issue of temporality in art. In order to retheorize linear notions of influence in cultural production, Bal analyzes the productive relationship between Caravaggio and a number of late-20th-century artists who "quote" the baroque master in their own works. These artists include Andres Serrano, Carrie Mae Weems, Ken Aptekar, David Reed, and Ana Mendieta, among others. Each chapter of "Quoting Caravaggio" shows particular ways in which quotation is vital to the new art but also to the source from which it is derived. Through such dialogue between present and past, Bal argues for a notion of "preposterous history" where works that appear chronologically first operate as an aftereffect caused by the images of subsequent artists. "Quoting Caravaggio" is at once a meditation on history as creative, nonlinear process; a study of the work of Caravaggio and the Baroque; and, a critical exposition of contemporary artistic representation and practice.

Quoting Caravaggio: Contemporary Art, Preposterous History

Reading Rembrandt : Beyond the Word-Image Opposition

Outlines how New York City sets an image, using nature as a sign. Its very layout demonstrates the importance of a balanced intercourse between background and figure, between plan and details, between chaos and organization. Central Park, the domesticated preserve of nature-within-culture; Exhibits; Floor plans; Demonstrations; Conclusions.

/pdf/telling-showing-showing-off-1ofhyq2wha.pdf

Mieke Bal

Papers

Double exposures : the subject of cultural analysis

Visual essentialism and the object of visual culture

Quoting Caravaggio: Contemporary Art, Preposterous History

Reading Rembrandt : Beyond the Word-Image Opposition

Telling, Showing, Showing off