This paper provides an overview of the mindfulness literature up until the end of 2020 by uncovering its underlying intellectual structure, identifying the most influential and popular themes, and presenting new directions for future research on mindfulness. To this end, a systematic quantitative review based on bibliometric methods was conducted, which is perhaps less prone to researcher bias and can complement existing meta-analyses and qualitative structured reviews as an objective approach. Three bibliometric techniques—document co-citation analysis, co-word analysis, and bibliographic coupling—were (...) applied to explore the past, present, and future of mindfulness research. The co-citation analysis showed that measurement, mechanisms, mindfulness-based interventions, and examinations of the efficacy of mindfulness interventions are among the key theoretical knowledge bases from which the field of mindfulness is derived. The content analysis demonstrated the beneficial effects of mindfulness meditation for physical and mental health conditions. The bibliographic coupling revealed novel directions in cognitive behavioral therapy, emotion regulation, the application of mindfulness practice to children and adolescents, mindfulness at work, and the role of mindfulness in positive psychology. The large sample of articles that was analyzed allowed us to provide a broader and more objective overview than possible with other forms of literature reviews. The combination of the three bibliometric techniques granted deeper insights into the complex multidisciplinary field of mindfulness, along with specific suggestions for future research. (shrink)

Our recent theory of intervocality (Cahill and Hamel 2018, 2021) provided a new model of voice as material, relational, and socially constructed. However, our work did not substantially address the complex relationship between voice and emotion, or how that complex relationship could be taken up more effectively and ethically in actor training and the theater studio. Utilizing insights from affect theory, cultural psychology, and affective neuroscience, this article argues for the need for pedagogies that substantively engage with the cultural specificity (...) of emotion, affect, and voice to create more just practices and experiences within the training studio and in performance. (shrink)