The purpose of this paper is to reflect on “My Autoethnography” that I performed during writing dissertation for M.Phil. in Education at a university in Nepal. For this, I reflect on my experience of doing autoethnography with four turning points – a connection to mentors, a presentation of poetic narrative in a class, a proposal for this research, and the dissemination of “My Autoethnography”. I present an evocative narrative of ‘the parallels’ connecting childhood experiences with blissful eternal dance. I analyse it from the perspective of methodological, relational and ethical lenses. I present some merits and caveats of autoethnography as a method of research based on my experience of using the approach. This also helped me to see not only to the past and present, but it also opened my eyes to envision the future in terms of learning and teaching mathematics. The other merit was access to my private world through the construction of thick and rich evocative narratives with a variety of textual expressions and a sense of mental emancipation. The major caveats of this approach were associated with the extent of focus in writing the narratives, vagueness with mystical expression and imaginative connections between the events of different time, an indulgence on personal stories making forceful connection with theories, self-disclosure of sensitive issues, and ethical issues related to the narratives about the others. I conclude the paper with a reflection and poetic reminiscent of ‘My Autoethnography’.

We assume that poetic devices have an implicit goal: producing an overall sound scheme that will induce the reader to associate intended and expressed meaning to the sound of the poem. Sounds may be organized into categories and assigned presumed meaning as suggested by traditional literary studies. In my work, I have extracted automatically the sound grids of all the sonnets by William Shakespeare and have combined them with the themes expressed by their contents. In a first experiment I have computed lexically and semantically based sentiment analysis obtaining an 80% of agreement. In a second experiment sentiment analysis has been substituted by Appraisal Theory thus obtaining a more fine-grained interpretation which in some cases contradicts the first one. The computation for the second poet - regarded by many critics the best of last century - includes both vowels and consonants. In addition, it combines automatic semantically and lexically based sentiment analysis with sound grids. The results produce visual maps that clearly separate poems into three clusters: negative harmony, positive harmony and disharmony where the latter instantiates the need by the poet to encompass the opposites in a desperate attempt to reconcile them.

The issue of suicide has garnered considerable attention in refugee scholarship, where research examines how unique forced migration and resettlement challenges exacerbate risks and vul-nerabilities to suicide. However, there are gaps in understanding the social and cultural factors shaping the lived experience of suicide in refugee communities. Using the example of Afri-can-background young people in Australia, this paper presents a collaboration among two aca-demics and two South Sudanese youth advocates to explore the sociocultural factors impacting suicidality through reflexive discussions and collaborative poetry. This combined approach of-fered a unique and nuanced conceptual and methodological framework to contribute culturally specific narratives to critical suicide studies and challenge western-centric and biomedical per-spectives on suicide. The process highlighted (i) the lack of dialogue about suicide in the South Sudanese community, and (ii) an absence of community-based support structures to address sui-cide. This paper provides useful insights on the culturally specific context of suicide, adding ref-ugee perspectives to the discipline of critical suicide studies.