Our aim with this descriptive phenomenological study was to identify and describe the essential meaning structure in the experience of postpartum depression . We interviewed four women diagnosed with major depression and analyzed the data with Giorgi’s descriptive phenomenological method. Our analysis revealed two essential meaning structures of PPD. The first structure describes the mother as thrown into a looming, dangerous world, coupled with a restricted, heavy body that hindered her attunement to her baby. Tormented by anxiety, guilt and shame, (...) she tried to deal with her pain by analytical reflection and social isolation. The second structure describes sudden lapses into intense feelings of alienation from the self, the baby, and from the social and material world. With a distorted primordial self-awareness, the mother no longer felt that she existed as herself in the world. We reflect on these findings using the insights of Fuchs, Van den Berg, Heidegger and Merleau-Ponty. (shrink)

This research investigates flow experiences and explores meaning construction for artistic practices that differ in haptic nature. In addition to the phenomenological analysis of interviews, videos of artistic practice and practice-based research were employed to obtain both retrospective and real-time records of the physicality of artistic practice. Drawing on authors who emphasise the automatisation of actions in flow and heightened body awareness flow is reconceptualised in non-representational terms as optimal precognitive engagement with the world. In this light meaning in flow (...) results not from bringing order to the mind as Csikszentmihalyi proposed, but through its embodied construction in activity. Analyses revealed that the sources of enjoyment and meaning, the relationship between artist, tools and artwork, and the nature and extent of self-differentiation differ between artists who work in two and three dimensions, and whose physical actions differ in the production of their artwork. 2D artists derive enjoyment from their creative process and meaning from capturing an atmosphere or place, and attribute artistic control to their artwork. 3D artists derive more enjoyment from the product of their artistic activity and meaning from the recreation of the self in material form, and do not attribute artistic control to the artwork. Consequently, embodied physicality of activity appears fundamental to similarities in flow experiences and meaning-making: accounts of flow and the meanings generated in activity differ between activities that differ in their haptic or performative nature but are similar among haptically similar activities. (shrink)

In recent years phenomenology has attracted the interest of science, acquiring a role far beyond philosophy. Despite Husserl's clear denial of a possible naturalization of phenomenology, scientists from different fields have proposed its naturalization. To achieve this goal, different methodologies have been proposed. Most scientists seem to agree on the claim that phenomenology cannot be a science itself because it fails to respect one of the prerequisites of science, that is, the capacity to explain its phenomena. Phenomenology, thus, is forced (...) to remain a purely descriptive effort, preliminary to authentic scientific practice. I argue, instead, that the experimental development of phenomenology explains phenomena (that is, appearances and/or subjective experiences in first person account) and uses rigorous methods, conducts valid measurements, and can validate its results. The paper provides a variety of examples of how experimental phenomenology works. (shrink)