Donna Frost

Concept analysis 33 2 McCormack, 2008 , 2010 ; Titchen, McCormack, Wilson & Solman, 2011 ). The goal of this concept analysis is to uncover and critically appraise existing understandings and usage of the term professional artistry in the literature, laying the groundwork for further exploration, testing and development of these ideas. Concept analysis: theoretical principles and methods The standpoint taken is congruent with Wilson’s ( 1963 ) ontological position on the nature of concepts: they aremore than just words or parts of language. Representing a particular discourse, concepts encompass whole groups of ideas, ways of acting, ways of being and understanding, and ways of coping in the world. As such, both the meaning and usage of a concept are contextual and liable to evolve with time. Rodgers’ ( 1989 , 2000 ) evolutionary concept analysis enables an analysis congruent with the philosophical standpoint that concepts are evolving and evolved, that they are both shaped by and shapers of context and theory. Evolutionary concept analysis focuses on concept utilisation both within and outside theory, and on the ‘behaviours and capabilities [made] possible as a result of an individual having a grasp of particular concepts’ (Rodgers, 1989 , p. 331 ). Rodgers states that non- discursive forms, such as physical behaviours or creative expression, are legitimate areas for study when analysing concepts. She emphasizes the non-linear nature of concept analysis and development, and the importance of recognizing the interconnectedness of the world and therefore of the concepts we are attempting to clarify. This means that conceptual boundaries can be better expressed through identifying related concepts and surrogate terms, rather than searching for contrary and illegitimate cases (cf. Walker & Avant, 2005 ) with which to delineate, likely artificial, divisions. The seven phases to Rodgers’ evolutionary concept analysis are listed in Textbox 1 . Within this concept analysis of professional artistry diverse ways of knowing and forms of knowledge are regarded as legitimate. Non-cognitive, for example aesthetic and emotional, responses to and interpretations of the literature were recorded, examined and incorporated into the analysis, as well as cognitive responses and interpretations. I used tools such as analogy, illustration and metaphor during the analytic process to help in understanding and illuminating the concept of professional artistry, and creative expressions such as painting, drawing, senryu (a form of poetry similar to the haiku (Haiku Kring Nederland, 2015 ) and imaginative writing to summarise, compare and dialogue with the literature, with self and with my supervisors. Scholars such as Hupcey and Penrod ( 2005 ) argue against creative imaginative processes being used in concept analysis, but these