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1
Adédínà, Fémi A. „Death's laughter (novel) and crafting a novel (exegesis)“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2011. https://ro.ecu.edu.au/theses/388.
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This thesis consists of a creative component, a novel, Death’s laughter and an exegetical essay, Crafting a novel. The novel centres on a true Nigerian story: a Pentecostal pastor, who died in a plane crash, was a government official found out to have amassed large sums of money and assets that were far greater than could be accrued from his modest salary. In addition, he was accused of bigamy because he had two wives who did not know each other in two different cities within the country. This basic story serves as the nucleus of the novel. The novel tells the stories of various characters who were created with the intention of telling their own stories and, in doing this, giving the readers a montage of the pastor who was passive but ever present in the novel. Though the pastor dies in Chapter One of the novel, each character -- who is related or has a relationship with the pastor -- tells their own stories and together builds a picture of what happened to the pastor and the kind of person he was. Pastor Jude Akanmu Babajide in the novel represents the Pastor Femi Àkànní, who was the character in the true Nigerian story. This novel does not paint a picture based on the research into the Nigerian pastor, it creates a fictional account of the pastor and of the various characters who populated the novel. As the reader goes through the various tales he/she is given an insight into Nigerian society and an introduction to some Yoruba cultural concepts.
2
Robinson, Ray. „Making electricity : an exegesis of the creative process“. Thesis, Lancaster University, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.730249.
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An exegesis of the creative process involved in writing the novel Electricity. This comprises: a preface; an analysis of the novel’s genesis; details of an interview with neuropsychologist Dr Alarcon; an examination of how the protagonist’s character was formed; the link between epilepsy and creativity; a brief analysis of how epilepsy is used in Dostoyevsky’s The Idiot', epilepsy as a structural device; memory and the novel as consciousness; the language of the epileptic body; the interpreter and qualia; reader criticism and writer response; an overview of the editorial process; a dialogue discussing the illusion of the female voice; and finally a conclusion.
3
Ward, Harold Clifton. „Clement of Alexandria and the creative exegesis of Christian Scripture“. Thesis, Durham University, 2017. http://etheses.dur.ac.uk/12088/.
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How might one describe early Christian exegesis? This question has given rise to a significant reassessment of patristic exegetical practice in recent decades, and the present thesis contributes to this reappraisal of patristic exegesis in two significant ways. First, this thesis attempts to move beyond the idea of exegesis to investigate the textual practices that serve as its modus operandi. In order to accomplish this task, I develop the notion of "creative exegesis." I argue that creative exegesis permits one to pay attention in detail to two modes of archival thinking at the heart of the ancient exegetical enterprise: the grammatical archive, a repository of the textual practices learned from the grammarian, and the memorial archive, the constellations of textual memories from which textual meaning is constructed. Second, this thesis examines the textual practices of Clement of Alexandria, a figure whose exegesis has on the whole been neglected in modern scholarship. I argue that an assessment of Clement's creative exegesis reveals his deep commitment to scriptural interpretation as the foundation of theological inquiry, even in his works that cannot be explicitly labeled "exegetical." Clement employs various textual practices from the grammatical archive to read Scripture figurally, though he restricts the figural referents of Scripture to two mysteries, bound up in the incarnation of Christ and the knowledge of God. These mysteries are discovered in an act of rhetorical invention by reading Scripture for the constellations that frame its narrative. For Clement, the plot of Scripture—and the progression from Old Testament to New—is expressed under the dual constellations of "fear," by which God leads his people to faith, and "wisdom," through which God leads his people to the ultimate vision of the divine essence.
4
Stringer, Mary-Ellen. „Cultivating A Beggar’s Garden: A Novel and Exegesis“. Thesis, Griffith University, 2015. http://hdl.handle.net/10072/366426.
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My novel, A Beggar’s Garden, and its accompanying exegesis, ‘Reading in A Beggar’s Garden: being without shadow’ are offered as sites of confluence where the political, the personal, the poetic and the polemic meet, blend, separate, reform and reconfigure. I hope the work rings with the ‘sociological poetics’ described by Paul Dawson – a poetics which recognises the ‘aesthetic or craft-based decisions of a writer are always the result … of ideological or political choice: the choice to employ social languages and the ideologies they embody … the choice to position a literary work in these languages, as an active intervention in the ideological work they perform’ (Dawson 2005: 211, emphasis in original). Critically and creatively I am telling stories that resonate in a contemporary register and with the tone and timbre of the language of affect which has here been derived from what Mark Davis describes as ‘the logic of affect since … this is the logic of contemporary politics and the public sphere’ (Davis 2007: 26-27). I use language as critique and explore through creative, critical and political idioms the intersections where these languages collide to produce the vernacular that positions, forms and informs subjectivity. The images, ideas, historiography and politics embedded in everyday languages are too often violent and proscriptive. I appropriate the violent tendencies laced through everyday languages and use them towards their opposite effect, towards compassion, belonging and dignity for the outcasts, outsiders and outriders of the community.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities
Arts, Education and Law
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Leggett, Andrew Alfred George. „In Dreams, a Novel and its Exegesis: In Dreams – Novel; The place of dreams in the Novel and the Cinematic Work of David Lynch– Exegesis“. Thesis, Griffith University, 2016. http://hdl.handle.net/10072/366962.
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Dr Garrick Willis, the protagonist of my novel In Dreams, is a recently divorced neurologist who suffers premonitory dreams and intrusive violent fantasies. Willis loses his girlfriend Jade to a drug dealing pimp and comes to be wrongly accused of her murder, a crime that has plagued his waking fantasies and haunted his dreams. At the start of the novel, Garrick’s first patient for the afternoon is Nick Myshkin, with whom he has just shared a seat on the train from Meadowbrook to Princess Alexandra Hospital. Nick is a bass player in the grunge band Return of the Evil Youth for Christ, who deals amphetamines in Fortitude Valley nightclubs and pimps mysterious women on the streets. Garrick is not aware that his discomfort with Nick’s utterance of the name ‘Jade’, during complex partial seizures, is based in their common interest in the same woman, or that he and Nick were born to the same mother. Jade progressively unravels towards a violent end. Her attachment and investment moves from protagonist to antagonist, as her nursing colleague Rachel takes her place in Garrick’s heart.
Garrick struggles to contain the expression of his passionate and violent emotions in poetry, to translate his destructive impulses into clinical research and expressions of love. His poems, integrated into the text, serve as vehicles for twists in its structure. He fails to heed his premonitory dreams, and his vacillations cost him dearly. He does too little, and always arrives just too late.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities, Languages and Social Science
Arts, Education and Law
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Da, Graça Moura Mário Alencoão Brígido. „Schumpeter's inconsistencies and Schumpeterian exegesis : diagnosing the theory of creative destruction“. Thesis, University of Cambridge, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.627439.
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Bayes, Chantelle Jasmin. „Writing Urban Nature: A Novel and Exegesis“. Thesis, Griffith University, 2016. http://hdl.handle.net/10072/366592.
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This thesis is comprised of a novel and exegesis which explores how contemporary fiction can contribute to understandings of nature and culture, questioning oppositional dualisms and ultimately re-placing the human within nature. The exegesis discusses how fiction writers might engage with nature in their writing, by concentrating on the potential of urban environments – places where nature and culture co-exist. I argue that through fiction, writers can re-imagine cities in ways that extend contemporary ideas of place, nature, urban experience and ecologies.
I use several methodologies in the creation of this novel and exegesis including practice-led research, eco-criticism, reflection, and embodied experience. My aim is to develop a method of writing-practice based on the hybrid role of doctoral candidate as creative writer/researcher and nature writing as a hybrid of poetic and scientific expression. I walk the boundary between real and fictional, natural and cultural, self and other. I seek to extend understandings of nature through the concepts of ‘situated knowledges’ and lived experiences with reference to Estelle Barrett and Donna Haraway. By questioning the binary set up between theory and practice, situated knowledge allows engagement between theoretical and creative inquiry and results in a more complex understanding of the creative-practice/research relationship.
I argue that the definition of nature writing can be broadened to include fiction, urban areas and narratives that contribute a range of knowledge (poetic, scientific, personal, relational, and mythical). I consider the way language and meaning might play a role in understanding place and non-human nature. By re-conceptualising the way landscape, terroir, wilderness, country and nature are used and understood, I find new ways to think about nature/culture relationships. Eco-criticism, particularly through a social ecology lens has provided me with a critical frame to negotiate my own use and understanding of these conceptions.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities, Languages and Social Science
Arts, Education and Law
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Utter, Emily Kathryn. „Wedgewood : a novel extract with exegesis : memory, place and the 'pain of individuality'“. Thesis, University of Aberdeen, 2016. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=230592.
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Book I of Wedgewood tells the story of two generations of women struggling to define themselves as individuals within the boundaries of a sometimes abusive, strongly patriarchal family. This first half of the novel exposes the distinct and powerful ways that women use language to recall and narrate the past through performative narrative strategies, and it navigates these complex familial relationships through its remote, distinctly Canadian setting, and themes. The first chapter of the exegesis analyses the intersection of memory, identity and trauma in the family. Various narratological interpretations of inherited memory are explored in the context of a patriarchal family dynamic. John McGahern's Amongst Women and Marilynne Robinson's Housekeeping are approached in terms of the representational strategies they employ to engage with and illuminate theories of inherited memory, domestic trauma, and the patriarchal family dynamic. Insight into how these texts compare and contrast with my own writing are considered throughout. Chapter Two analyses the formal and structural outcomes of my approach to Wedgewood. My analysis draws on elements of Frank O'Connor's writings on the short story and Alberto Moravia's writings on novel and short story ideologies. Bernhard Schlink's novel, The Reader, and Donna Tartt's novel, The Goldfinch are explored in terms of their uses of voice and tense, and their capacity to self-consciously represent memory in fiction. Jennifer Egan's A Visit From the Goon Squad is discussed in terms of its categorisation as a story cycle, and its influence on Wedgewood's form and structure. Chapter Three builds on the discussion of memory, trauma, and family by analysing their narratological implications through a gendered lens. The subjugation and marginalisation of female voices and narratives within the family are explored against the backdrop of the current socio-political climate. Mikhail Bakhtin's theory of the dialogic figures prominently in the discussion about the novel's 'polyvocality' and its influence on my own writing. The fourth chapter approaches many of the key ideas and methodologies outlined thus far by engaging with notions of 'life writing,' and provides an in-depth reflection on the writing process, including Wedgewood's varied uses of lived experience and family history, and its formal progression from a short story to a novel.
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Beasley, Carolyn. „The fingerprint thief a crime novel and exegesis /“. Swinburne Research Bank, 2009. http://hdl.handle.net/1959.3/66861.
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Thesis (PhD) - [Higher Education Division - Lilydale], Swinburne Institute of Technology, 2009.Submitted for the degree of Doctor of Philosophy, [Higher Education Division - Lilydale], Swinburne University of Technology, 2009. Includes bibliographical references (p. 351-371)
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Curtin, Amanda. „Ellipsis: a novel and exegesis“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2006. https://ro.ecu.edu.au/theses/337.
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This thesis comprises a novel entitled 'Ellipsis' and an exegesis entitled 'Ellipsis: Ambiguous genre, ambiguous gender'. The novel blends archival records and fiction into two woven narratives, one contemporary, one historical. In the contemporary narrative, set in 2004-2005, Willa Samson, flayed by guilt and grieving the loss of her daughter, is a hermit, unable to work, communicating with the world mainly through the Internet. But her desire to research a fragment of local history that has haunted her for years gently forces her back into the world. Willa is convinced that in the story of a nineteenth-century murder she can see an unlikely parallel with her daughter: that, like Imogen, the victim was intersexed. The historical narrative is a speculative telling of the life of the murder victim, known as Little Jock.
Imogen's story, which unfolds through Willa's memories, dramatises the devastating though well-intentioned protocol established by twentieth-century medicine for dealing with intersex births: 'normalising' surgery to fashion the newborn into the sex deemed to be appropriate, followed by hormone treatment, rigid social conditioning and an aura of secrecy to silence any confusion or hint of difference. Imogen grows up suspecting that she is different, but no one will tell her the truth.
Little Jock must also keep bodily truth hidden, for in the nineteenth century intersexuals-then termed 'hermaphrodites'-were often exploited as freaks. After leaving Northern Ireland during the Potato Famine, the child who becomes Little Jock finds, in the tenement slums of Glasgow, a place to disappear. A series of petty crimes results in his transportation to Western Australia-one of the nearly ten thousand convicts plucked from English prisons and sent to the Swan River Colony. The authorities believed all of them were male.
Willa's research leads her to Scotland and Northern Ireland, and finally to Western Australia's South West, helped along the way by genealogists-people who cherish the bonds of family and history. And in the search for Little Jock, she draws closer to understanding what has happened to Imogen.
The exegesis, after outlining the provenance of the novel's research, is structured as two essays linked by the themes of ambiguity and classification. The first, on ambiguous genre, sets out to investigate the framing (that is, in the form of an explanatory note) of hybrid sub genres of fiction, novels that draw directly or indirectly on people, events and issues that are part of the historical record. In considering what authors should say about 'what is real and what is not,' the essay canvasses ethics and reader expectations, the right to speak and the freedom to create, and the ways books are marketed, classified and read. The second essay, on ambiguous gender, draws on historical aspects of the classification of intersexed people, along with gender theory, to consider 'Ellipsis' in terms of the social forces acting on the ambiguous bodies of Little Jock in the nineteenth century and Imogen in the twentieth century, and how these characters survive in bodies that pose a challenge to deeply held cultural norms.
11
Woodrow, Ingrid. „The Incredible Inga: A field guide to losing your clothes and finding yourself“. Thesis, Griffith University, 2022. http://hdl.handle.net/10072/416052.
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This thesis, The Incredible Inga / A Field Guide to Losing Your Clothes and Finding Yourself, is a creative arts-based research project. It comprises two complementary elements: a creative artefact in the form of a memoir and accompanying exegetical material. The creative artefact, The Incredible Inga, takes the form of a series of vignettes engaging with recent studies concerning the liminal space between fiction and autobiography. The exegetical components that make up A Field Guide to Losing your Clothes and Finding Yourself—a work of creative nonfiction—are blended throughout the creative material. Thus, the thesis in its entirety draws on and blends elements of the Japanese literary concept of zuihitsu; artists’/writers’ journals and relevant contemporary literary and creative practice theory, specifically concerned with problematising the relationship between life writing and fiction. The blurring of generic boundaries and the application of metafictional strategies to contemporary creative and scholarly writing are also key scholarly concerns.
The project draws on first-hand experience to produce my take on a number of ‘sex worker memoirs’ which emerged during the early 2000s, spearheaded by the likes of Lily Burana’s Strip City: A Stripper’s Farewell Journey Across America (2001) Elisabeth Eaves’ Bare: The Naked Truth About Stripping (2002) and Kate Holden’s In My Skin (2005).
The project was conceived as a fictive ‘stripper memoir’, the protagonist of which is a stripper named Inga, a former journalist and novelist with a Master’s degree who quit her job as a newspaper sub-editor in a regional Queensland town and became a stripper. Like the protagonist of Elizabeth Hardwick’s ‘genre-bending’ 1979 ‘novel’ Sleepless Nights, whose protagonist’s circumstances follow the known contours of its author’s life, Inga’s journey parallels watershed moments in mine and in the history of the northern Queensland town of Mackay during a six-year period I spent there in the early 2000s.
Both the creative artefact and the exegesis form a hybrid text, with each component infused with the notion that becoming a dancer enables my fictive self to reconnect with her sense of identity as a writer—in short, a demonstration of how she loses her clothes and finds herself. In a textual sense, this takes the form of a self-reflexive literary performance along the lines of Sophie Calle’s “The Striptease” (2000), from her artist’s book Double Game in which she inscribed the motif of a stripper as her performative self with a compelling statement on her own identity as both an author and subject of her work. This arts-based research project engages with existing social science-based studies and popular works of literature in the field but also seeks to present a more multifaceted view of the industry and the people who work within it. By positioning my project as an insider’s perspective into a taboo space, rather than casting value judgements for or against exotic dance or limiting the scope of work to a single research question per se, the work instead aspires to the goals eloquently described by theorists Tom Barone and Elliot Eisner: “The purpose of arts-based research is to raise significant questions and engender conversations rather than proffer final meanings” (2011, p. 166).Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Hum, Lang & Soc Sc
Arts, Education and Law
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Foxall, Gemma. „When autism strikes (an exegesis)“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2020. https://ro.ecu.edu.au/theses/2299.
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The structure of this thesis is twofold: a creative work and exegesis. The creative work is a book entitled When Autism Strikes, and documents my family's journey into the world of Autism Spectrum Disorder (ASD) and the actions taken to reduce the disabling features of my son's diagnosis. The text is supplemented with commentary sections, presenting information gathered from my professional and personal experiences.
The creative work uses the writing genre known as Creative Nonfiction and shares scenes over the course of one year in the characters’ lives. Character development and first person dialogue create an emotive narrative to link together clinical disciplines not usually integrated in published work. Relevant in-text links to academic literature and references are cited at the end of each of the three parts, so that readers are supported to learn more about significant publications. Key features of Autism Spectrum Disorder that underpin the clinical diagnostic terms are incorporated into the story to demonstrate the complexity and broadness of the condition.
Whilst the creative work has implicit discussion points and messages, the exegesis explicitly explores and reviews the issues highlighted in the creative work. The methodology underpinning this research is Practice-based research, and sourced data according to the four perspectives I bring to the project, that of: therapist, researcher, parent and teacher. The evolution of the research design is discussed in the exegesis and how data were presented to produce the creative work. When Autism Strikes communicates information in a new way, thereby creating a novel contribution to the academic community, and pending future publication, the broader audience for whom it is written.
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Planitz, Birgit Maria. „Frank and Stein : from research scientist to creative writer (a screenplay and exegesis)“. Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/40172/1/Birgit_Planitz_Thesis.pdf.
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The screenplay, “Perfect Blood” (Frank and Stein), is the first two-hour episode of a two-part television miniseries Frank and Stein. This creative work is a science fiction story that speculates on the future of Western nations in a world where petroleum is scarce. A major theme that has been explored in the miniseries is the tension between the advantages and dangers of scientific progress without regard to human consequences. “Perfect Blood” (Frank and Stein) was written as part of my personal creative journey, which has been the transformation from research scientist to creative writer. In the exegetical component of this thesis, I propose that a key challenge for any scientist writing science fiction is the shift from conducting empirical research in a laboratory-based situation to engaging in creative practice research. During my personal creative journey, I found that a predominant difficulty in conducting research within a creative practice-led paradigm was unleashing my creativity and personal viewpoint, practices that are frowned upon in scientific research. The aim of the exegesis is to demonstrate that the transformative process from science to art is not neat and well-structured. My personal creative journey was fraught with many ‘wrong’ turns. However, after reflecting on the experience, I realise that every varied piece of research that I undertook allowed me to progress to the next stage, the next draft of Frank and Stein. And via the disorder of the creative process, a screenplay finally emerged that was both structured and creative, which are equally essential elements in screenwriting.
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Sinclair, Nicole Marie. „A novel: Bloodlines and exegesis: In the blood: mothering and othering“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/1961.
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This thesis includes a literary fiction novel, Bloodlines, and an exegesis titled In the Blood: Mothering and Othering.
Bloodlines is a layered novel with shifting settings, times and voices. It centres around thirtyone- year-old Beth who is struggling with the guilt of calling off her wedding and the belief this decision caused her fiancé to have a devastating accident. She flees to an island in Papua New Guinea (PNG), staying with her dad’s cousin who runs a mission school, and is quickly immersed in island life in all its wonder, beauty and brutality. Friendships with local women, unexpected romance and a malaria scare conspire to make Beth confront the memories that imprison her, and she finally makes peace with her past. But the island simmers with sorcery, religious fervour and belligerent ex-pats, and when violence spills into her own backyard, Beth reaches a defining moment and chooses where she really belongs: with her family.
Interwoven with Beth’s narrative is the story of her parents’ love for each other decades earlier. Clem and Rose’s passionate, tender union is, however, beset with tragedy: Rose dies suddenly and a grieving Clem must raise Beth, their young daughter, alone. Years later, when Beth travels to PNG, Clem reminisces about her childhood and longs for her return.
Bloodlines is about family and love, cultural difference and belonging, and although it is not autobiographical it is inspired by lived experience. The exegesis, In the Blood: Mothering and Othering, is an exercise in reflexivity, demonstrating how creativity is influenced by memory, connection to place, and personal experience. It examines two challenging experiences which informed the setting, characters and plot of Bloodlines. Chapter One explores how becoming a first time mother shaped both content and writing practice, drawing parallels with other contemporary Australian author-mothers including Cate Kennedy and Nikki Gemmell. It also frames the work as an act of catharsis. Chapter Two tackles the complexities of whiteness. It examines the PNG thread of the novel in terms of post-colonial discourse with particular reference to ‘white saviour complex’ and the volunteer tourist as a modern day missionary. The unavoidable echoes of colonialism given Australia’s historical relationship with PNG are highlighted. The second part of this chapter details specific strategies implemented to ease the writer’s anxiety about depicting racial difference, and connections are made to other Australian authors who have written about PNG, most notably Randolph Stow, Trevor Shearston and Drusilla Modjeska.
Both the novel and exegesis are a manifestation of significant, somewhat difficult life experiences. If we accept that it is in our vulnerability and our interactions with other people (whether they be a tiny child or the archetypal black Other) that we know ourselves more fully, then this journey of self-discovery is deepened when we transform our experiences through writing – whether it be creative or theoretical.
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Mulligan, Kerry-Jane. „A distance too far away : a novel and exegesis“. Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/61025/1/Kerry_Mulligan_Thesis.pdf.
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This practice-led research examines the generative function of loss in fiction that explores themes of grief and longing. This research considers how loss may be understood as a structuring mechanism through which characters evaluate time, resolve loss and affect future change.
The creative work is a work of literary fiction titled A Distance Too Far Away. Aubrey, the story’s protagonist, is a woman in her twenties living in Brisbane in the early 1980s, carving out an independent life for herself away from her family. Through a flashback narrative sequence, told from the perspective of the twelve year narrator, Aubrey retraces a significant point of rupture in her life following a series of family tragedies. A Distance Too Far Away explores the tension between belonging and freedom, and considers how the past provides a malleable space for illuminating desire in order to traverse the gap between the world as it is and the world as we want it to be.
The exegetical component of this research considers an alternative critical frame for interpreting the work of American author Anne Tyler, a writer who has had a significant influence on my own practice. Frequently criticised for creating sentimental and inert characters, many critics observe that nothing happens in Tyler’s circular plots. This research challenges these assertions, and through a contextual analysis of Tyler’s Ladder of Years (1995) investigates how Tyler engages with memory and nostalgia in order to move across time and resolve loss.
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Bourke, Nicole A. „From the Cradle to the Grave: A Novel and Exegesis“. Thesis, Griffith University, 2002.
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From the Cradle to the Grave: A Novel and Exegesis is concerned with maternal infanticide. This is, however, a somewhat inflammatory and perhaps misleading statement. While it is concerned with the infanticidal mother, she is in this instance largely an icon, a way into an exploration of diverse aspects of motherhood, especially negative ideas about mothers and mothering. It would be more precise to say that this thesis is concerned with the paradoxical Childless Mother.
Both the novel and exegesis circle around ideas about parenting that seek to confront traditional assumptions about the connections and differences between good and bad mothering. The exegesis - From the Cradle to the Grave - does this through a discussion of various aspects of culture, which produce and are produced by mothering practices. In particular it engages with childcare literature, medical and legal engagements with women and children, and myth and fairy tales.
The novel - The Bone Flute - is another exploration of the paradoxical nature of motherhood. While the exegesis seeks to draw together some of the material and historical truths of mothering, the novel addresses another kind of truth; through various narrative devices it seeks a different type of engagement with the lived realities of women.
Both texts ask questions about the nature of maternity and its relationship to femininity. Both attempt to come to terms with the paradoxical status of mothers without children. The exegesis is an explication of the research processes, the reflections and considerations that preceded and accompanied the writing of The Bone Flute. It seeks to make explicit the tangled web of reading and thinking that informed the writing of a novel - from initial impulse to final draft. The exegesis is not, however, an explicit explanation of how the novel was written. Rather the two texts existed (and exist) symbiotically - each inciting and reflecting upon the other. While the exegesis explores the material
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Green, Anna. „Dead Man: And an accompanying exegesis: `Labyrinthine modes in Dead Man and The Castle by Franz Kafka.'“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2006. https://ro.ecu.edu.au/theses/67.
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Dead Man is a novella about four brothers. They live an unrestricted life until their mother decides that they lack fear and this lack could make their lives difficult when they are adults. To combat this, she recruits the help of another boy to create a sense of fear and threat that remains endlessly elusive, that will make her sons more wary and alert than she thinks that they would otherwise be capable of. Neuroses always seek their source and Dead Man explores this notion. The source of neurosis for the brothers in Dead Man is a real person; a real physical presence, and, like regular neuroses, it convolutes the characters' perception of their `place in the world'. Dead Man subverts the notion of neurosis by making the force of the ailment an actual physical being, rather than a misapprehension and projection. To represent the phenomena of neuroses, a non-linear narrative is employed in the construction of Dead Man.
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Herbert, Elanna, und n/a. „Hannah�s Place: a neo historical fiction (Exegesis component of a creative doctoral thesis in Communication)“. University of Canberra. Communication Media & Culture Studies, 2005. http://erl.canberra.edu.au./public/adt-AUC20070122.150626.
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The creative component of my doctoral thesis articulates narratives of female
experience in Colonial Australia. The work re-contextualises and re-narrativises
accounts of events which occurred in particular women�s lives, and which were
reported in nineteenth century newspapers. The female characters within my novel are
illiterate and from the lower classes. Unlike middle-class women who wrote letters
and kept journals, women such as these did not and could not leave us their stories.
The newspaper accounts in which their stories initially appeared reflected patriarchal
(and) class ideologies, and represented the women as the �other�. However, it is by
these same textual artefacts that we come to know of their existence.
The multi-layered novel I have written juxtaposes archival pre-texts (or intertexts)
against fictional re-narrativisations of the same events. One reason for the use of this
style is in order to challenge the past positioning of silenced women. My female
characters� first textual iterations, those documents which now form our archival
records, were written from a position of hegemonic patriarchy. Their first textual
iteration were the record of female existence recorded by others. The original voices
of the fictionalised female characters of my novel are heard as an absence and the
intertext, as well as the fiction, now stands as a trace of what once existed as women�s
lived, performative experience.
My contention is that by making use of concepts such as historiographic metafiction,
transworld identities, and sideshadowing; along with narrative structures such as
juxtaposition, collage and the use of intertext and footnotes, a richer, multidimensional
and non-linear view of female colonial experience can be achieved. And
it will be one which departs from that hegemonically imposed by patriarchy. It is the
reader who becomes the meaning maker of �truth� within historical narration.
My novel sits within the theoretical framework of postmodern literature as a variant
on a new form of the genre that has been termed �historical fiction�. However, it
departs from traditional historical fiction in that it foregrounds not only an imagined
fictional past world created when the novel is read, but also the actual archival
documents, the pieces of text from the past which in other instances and perhaps put
together to form a larger whole, might be used to make traditional history. These
pieces of text were the initial finds from the historical research undertaken for my
novel. These fragments of text are used within the work as intertextual elements
which frame, narratively interrupt, add to or act as footnotes and in turn, are
themselves framed by my female characters� self narrated stories. These introduced
textual elements, here foregrounded, are those things most often hidden from view
within the mimetic and hermeneutic worlds of traditional historical fiction. It is also
with these intertextual elements that the fictional women engage in dialogue. At the
same time, my transworld characters� existence as fiction are reinforced by their
existence as �objects� (of narration) within the archival texts. Both the archival texts
and the fiction are now seen as having the potential to be unreliable.
My thesis suggests that in seeking to gain a clearer understanding of these events and
the narrative of these particular marginalised colonial women�s lives, a new way of
engaging with history and writing historical fiction is called for. I have undertaken this
through creative fiction which makes use of concepts such as transworld identity, as
defined by Umberto Eco and also by Brian McHale, historiographic metafiction, as
defined by Linda Hutcheon and the concept of sideshadowing which, as suggested by
Gary Saul Morson and Michael Andr� Bernstein, opens a space for multiple historical
narratives.
The novel plays with the idea of both historical facts and historical fiction. By giving
textual equality to the two the border between what can be considered as historical
fact and historical fiction becomes blurred. This is one way in which a type of textual
agency can be brought to those silenced groups from Australia�s past. By juxtaposing
parts of the initial textual account of these events alongside, or footnoted below, the
fiction which originated from them, I create a female narrative of �new writing�
through which parts of the old texts, voiced from a male perspective, can still be read.
The resulting, multi-layered narrative becomes a collage of text, voice and meaning
thus enacting Mikhail Bakhtin�s idea of heteroglossia.
A reading of my novel insists upon questioning the truthfulness or degree of reliability
of past textual facts as accurate historic records of real women�s life events.
It is this which is at the core of my novel�an historiographic metafictional
challenging by the fictional voices of female transworld identities of what had been
written as an historical, legitimate account of the past. This self-reflexive style of
historical fiction makes for a better construct of a multi-dimensional, non-linear view
of female colonial experience.
19
Leonhardt, Lynne. „The double sunrise : a novel and an accompanying exegesis, Australian national identity and The double sunrise“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2007. https://ro.ecu.edu.au/theses/245.
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This thesis comprises a historical novel entitled 'The Double Sunrise' and an exegesis entitled 'Australian National Identity and "The Double Sunrise'". The novel contains three books. The narrative starts in Book I through the perspective of twelve-year-old, fatherless Virginia. The introductory scene, set in 1957, depicts the girl's consciousness and self-consciousness at the wedding of her mother, Valerie, a former English war-bride and war-widow, to her second husband Noel. When the newly married couple leave for their honeymoon, Virginia is left in the care of her aunt, Attie, (her father's twin sister) who lives on a farm in the south west of Western Australia. From here, the story-line reverts to a time six months earlier when Virginia was previously left in the care of Attie during her mother's return to England with her Australian lover for a holiday. The girl's experiences on the farm and the friendships she forms with Attie, Mr Penworthy, her music teacher and Dieter, a German refugee who works on the farm, enrich her life and provide an awakening of womanhood and a wider family identity. The book closes on Christmas Day as Virginia learns of her mother's marriage plans and imminent return journey to Australia with Noel.
Book II skips back to January 1945 with the war-bride's arrival in Australia with baby Virginia ahead of her husband, Jasper, an Australian bomber pilot based in Lincolnshire. This narrative, describing the isolation and loneliness of women's life on the farm as they await Jasper's return, is told through two perspectives: that of Valerie and her sister-in-law Attie, who is managing the farm while Jasper is at war. Following the announcement of victory at the end of Book II, the story narrative picks up in 1963, with a return to Virginia's perspective in Book III. While the girl is waiting to start a musical career at university, she is involved in a burning accident with her little half-sister, Dorothy. When the child dies, Valerie is grief-stricken and Virginia is so traumatised that she can no longer play the piano. Her later meeting with Theo, a young student of Dutch-Indonesian parentage provides love and consolation, helping her towards recovery. The remainder of the story involves Virginia's reactions to her mother's tragic death, Theo's proposal to her following his national service call-up and the unfolding mystery of Jasper's whereabouts and her imminent journey to solve it.
The exegesis, which provides a cultural, historical and literary context for my novel, is structured around two elements: the first consists of an explanation of the creative process and a detailing of memorabilia which inspired me to write 'The Double Sunrise'; the second undertakes an exploration of constructions of Australian national identity until the 1960s through the discourses of myth, war, place, gender and race, and the journey.
20
Fabian, Andreas. „Spoons & spoonness : a philosophical inquiry through creative practice“. Thesis, Bucks New University, 2011. http://bucks.collections.crest.ac.uk/10110/.
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A social etiquette has emerged around the consumption of food in the West which requires the use of cutlery – knife, fork and spoon. It is the spoon that is the subject of this thesis, a utensil so familiar as to have become almost invisible. The significance of the spoon should not be underestimated and it is employed in this study as a device to offer insight into material practices, examine theoretical issues in relation to design and explore the culture of representation that has developed around objects in the contemporary field of visual and material culture. In this sense this thesis can be seen as located in the blurred boundaries of art, craft and design and as constituting a text which contextualises and supports a collection of artefacts developed in the course of a 'practice led' Art and Design PhD. The spoon exists not only as an object whose usefulness transcends time but also in terms of a metaphorical singularity; as an idea with an infinite number of possible interpretations and material manifestations. This thesis originates in the idea of a reflective cross-disciplinary enquiry intended to explore fundamental questions around what the author defines as “spoonness”, articulating that which might otherwise be articulated through (and subsumed in) the making of the object itself. Significantly, by tracing the journey of the authors film „Emilie Eating Soup‟ together with the various objects, exhibitions and catalogues developed in the course of this research, this thesis also contributes to current critical discourse from the perspective of the practitioner - a voice that in the past has often been absent from academic discourse. It opens up the creative processes to scrutiny and further comment, and serves as a model of analysis to others in the field of material culture to aid reflection upon their own practice and generate new modes of innovation. A critical reflection upon the works subsequent reception at a series of prestigious international exhibitions and events is made throughout this thesis. These materials, together with this text, combine to represent the broad arc of this author‟s creative practice and collectively define the innovative nature of this PhD.
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Bongers, Christine Mary. „Blue Horses and Illuminating the Shadow : a novel manuscript and exegesis“. Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/18312/2/Christine_Mary_Bongers_-_Exegesis.pdf.
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The novel manuscript Blue Horses (published as Dust, by Random House Australia under its Woolshed Press Imprint, July 2009) focuses on a dusty corner of 1970’s Queensland in this evocative tale of family, shadows that hang over from childhood and beauty found in unexpected places. Its protagonist, Cecilia Maria, was named after saints and martyrs to give her something to live up to. “Over my dead body,” she vows. Her battles with a six-pack of brothers and the despised Kapernicke girls from the farm next door teach her an unforgettable lesson that echoes down through the years. Now she’s heading back to where it all began, with teenagers Jed and Jenna reluctantly in tow. She plans to dance on a grave and track down some ghosts. Instead she learns a new lesson at the gravesite of an old enemy.
The exegesis examines Jung’s concept of the Shadow Archetype as a catalyst for individuation in writing for young adults. It discusses the need to re-vision Jung’s work within a feminist framework and contrasts it to Julia Kristeva’s work on the abject. Alyssa Brugman’s Walking Naked and Sonya Hartnett’s Sleeping Dogs are analysed in relation to these concepts and lead into my own creative reflections on, and justification for, use of the Shadow conceptual framework. In following my shadow and establishing a creative dialogue between my conscious intent and unconscious inspirations, I have discovered a writing self that is “other” to the professional writer persona of my past.
22
Bongers, Christine Mary. „Blue Horses and Illuminating the Shadow : a novel manuscript and exegesis“. Queensland University of Technology, 2008. http://eprints.qut.edu.au/18312/.
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The novel manuscript Blue Horses (published as Dust, by Random House Australia under its Woolshed Press Imprint, July 2009) focuses on a dusty corner of 1970’s Queensland in this evocative tale of family, shadows that hang over from childhood and beauty found in unexpected places. Its protagonist, Cecilia Maria, was named after saints and martyrs to give her something to live up to. “Over my dead body,” she vows. Her battles with a six-pack of brothers and the despised Kapernicke girls from the farm next door teach her an unforgettable lesson that echoes down through the years. Now she’s heading back to where it all began, with teenagers Jed and Jenna reluctantly in tow. She plans to dance on a grave and track down some ghosts. Instead she learns a new lesson at the gravesite of an old enemy.
The exegesis examines Jung’s concept of the Shadow Archetype as a catalyst for individuation in writing for young adults. It discusses the need to re-vision Jung’s work within a feminist framework and contrasts it to Julia Kristeva’s work on the abject. Alyssa Brugman’s Walking Naked and Sonya Hartnett’s Sleeping Dogs are analysed in relation to these concepts and lead into my own creative reflections on, and justification for, use of the Shadow conceptual framework. In following my shadow and establishing a creative dialogue between my conscious intent and unconscious inspirations, I have discovered a writing self that is “other” to the professional writer persona of my past.
23
Eyre, Lucy. „Amnesiac A stage play - and - Playwriting migration: Silence, memory and repetition. An exegesis“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2016. https://ro.ecu.edu.au/theses/1925.
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In response to the surging migration phenomenon and growing hostility and restrictions on the movement of people, the stage play, Amnesiac, and exegesis, Playwriting migration: Silence, memory and repetition, explore a different approach to this global dilemma. Rather than focussing on the plight of refugees and asylum seekers, the approach and focus of the thesis centre on Western migration, from slavery and colonialism to corporation migration in the current globalised capitalist system. The research underpinning the approach of the play and essay examines the process of voluntary or obligatory participation in and/or resistance of political, social and economic systems which contribute to the circumstances that cause people to migrate.
The play depicts the workplace and home environments of fictional characters from historical and present-day migrations. Interactions between characters reveal the cumulative effects and fluctuating features of the relationship between oppressor and oppressed. These effects and features manifest in the playwriting, with the blending of repetition, stream of consciousness and memory as a way of understanding character objectives, conflicts, alliances and potential transformations. The results reveal the shifting nature of disempowered peoples and expose the shared experiences of oppressor and oppressed - in particular, the contributing factors of socialisation, domination and greed that are infused in the relationships which ultimately lead to conflict or alliance.
The exegesis examines historical and current events and people that inspired the form and content of the play. The factors that inspired the genre, the world of the play, the characters and incidents are discussed in relation to how social, political and economic systems reflect and reveal ongoing root causes of violence, instability and poverty in developing countries and, indeed, the increase of the same problems in developed countries.
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Bronkhorst, Jennifer. „Exegesis - Storytelling circles and straight lines : thesis - In transit: a collection of short stories : an exegesis and thesis submitted to Auckland University of Technology in partial fulfilment of the degree of Master of Creative Writing, 2009 /“. Click here to access this resource online, 2009. http://hdl.handle.net/10292/795.
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Storytelling: circles and straight lines is a qualitative, retrospective analysis of my thesis (a collection of iconoclastic New Zealand short stories, entitled In Transit), in which I define the scope of my creative work by: positioning my approach within the wider contemporary and literary contexts; explaining its conceptual framework; and describing my intention and process. To these ends, I have drawn extensively on my personal experience, accumulated knowledge, and orientation, supplemented by wide reading. Throughout the text, I substantiate my views, arguments and conclusions with reference to noted writers, critics, language experts, and philosophers.
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Ritchie, Brendan. „Writing into the apocalypse - an examination of the method of writing into the dark within the context of post-apocalyptic fiction: An exegesis“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1739.
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This Creative Writing thesis consists of an original novel, titled Carousel, and an exegesis examining the practice-led method of writing without a narrative plan.
Carousel explores the lives of four young adult characters who find themselves trapped inside a giant shopping complex in post-apocalyptic Perth. A central creative decision that informed the process of writing Carousel was to write without knowledge of the narrative destination. Within this research, I have termed this practice ‘writing into the dark’.
The initial focus of the exegesis is to define and explore what it means to write into the dark. Here the exegesis utilises writing theory from authors including Margaret Atwood, Maurice Blanchot and Alice Flaherty, alongside interview material from writers such as Stephen King, Katherine Heyman and John Marsden, to analyse this creative method and distinguish it from other writing practices such as working to a predetermined narrative plan.
Following this, the method of writing into the dark is examined within the specific parameters of selected post-apocalyptic literature by Cormac McCarthy, Justin Cronin and Douglas Coupland. Here the exegesis speculates that a link may exist between the challenges of writing within the post-apocalyptic genre and the adoption of an ‘into the dark’ writing process.
Finally, the exegesis provides an insight into the specific details of my own creative processes in writing Carousel. This section sheds further light on the possible relationship between the process of writing into the dark and the post-apocalyptic genre.
26
Briggs, Jane Elizabeth. „Unravel and picking at scabs : the underside of grief (a novella and exegesis)“. Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/49494/1/Jane_Briggs_Thesis.pdf.
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This thesis consists of a 46,000 word polyphonic novella, Unravel, and an exegesis, Picking at Scabs: the Underside of Grief. The works are companion pieces, sitting side-by-side, and together they plumb the complex depths of loss and its resultant disorder, painful longing, and sorrow. The novella, representing 75% of the work and creative practice, is a multilayered work, which scrapes at the potent unspeakability of the presence of absence in the lives of its chief protagonists, Hana and Guy. As the novella progresses, loss is unraveled to reveal the interplay of remembering and forgetting, past and present and the ways in which these knotty fibres are connected with the strands of memory, trauma, silence, and the uncanny. Each of these threads is woven into the novella and as they plait together, loosen and fray, they expose the mystery, lies and secrets at the core of the novella. The exegesis, which comprises 25% of the thesis, picks at loss to uncover and loosen a complex and worn tangle of knots and loops. In this way, the exegesis and creative work are constantly in dialogue and while neither provides all the answers, both stretch the yarn to reveal an enthusiasm of practice.
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Piper, Greg. „Memory to artefact [an exegesis [thesis] submitted to the Auckland University of Technology in partial fulfilment of the degree of Master of Arts (Art and Design)], 2003“. Full thesis. Abstract, 2003.
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28
Horner, Ann Elizabeth. „No-one was watching: A collection of short fiction and Stories beyond the gates: An exegesis“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2132.
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This research project asserts the primacy of creative practice as a key method of enquiry and explores how fictional stories, re-imagined from historical events of the mid-twentieth century, may provide different ways of viewing a world which was inhabited by once-silenced children, now known as the ‘forgotten Australians’. To this end, the thesis is made up of a creative component in the form of a book-length collection of short fiction that is accompanied by a critical component positioning the thesis contextually, theoretically and methodologically. The research reveals overwhelming evidence of a culture of endemic abuse within Australian child welfare organisations whereby harm was done to children in the context of policies and programmes that were designed to provide care and protection. During this era, ideologies underpinning community beliefs were patriarchal, conservative and insular. It was purported that children were ‘committed’ to imposing, regimentally run institutions ‘for their own good’. The project draws on sources from disciplines including history, psychology and literary studies, as the investigation exposes the blurred boundaries which exist between fiction and nonfiction; personal and social memory; official and unofficial narratives; knowing and not-knowing the past. In doing so, it argues that although there can be no single narrative of history, fictional narratives provide another conduit into stories from the past and have the potential to act as agents for social change.
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McEleney, Freebury Rachel M. „Beneath the money tree and nature is a haunted house: A novel and exegesis“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2579.
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This thesis comprises of an arts-based creative work Beneath the Money Tree and an exegesis, Nature is a Haunted House.
Beneath the Money Tree is an Australian Gothic style novel that explores the downward spiral of Jack, who is haunted by his dead wife Maya. The couple and their three children live on a large property in Walpole, Western Australia. During a violent argument Jack murders Maya and buries her under a marijuana plant on the family property. The novel responds to the works of colonial authors such as Barbara Baynton and Mary Fortune and seeks to subvert the Australian Gothic tradition of silencing women. Like Fortune’s ghosts, Maya also lies uneasy in her grave. Her spirit seeks revenge on those who harmed her during life, and she murders them one by one. Guilt, combined with Maya’s haunting take their toll on Jack’s mental health and he slowly succumbs to her torment.
The exegesis, Nature is a Haunted House, explores the evolution of Australian Gothic literature from colonial times through to contemporary works and examines three novels written in the last ten years. Charlotte Wood’s The Natural Way of Things (2015), Emily O’Grady’s The Yellow House (2018) and Felicity McLean’s The Van Apfel Girls are Gone (2019) deal with secrets that haunt the protagonists and the effect they have on the present.
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Dawson, Beata. „Creative Work ‘The story of the Markham car collection’. Exegesis: Designing a storyteller panorama tour and the user experience“. Thesis, Curtin University, 2019. http://hdl.handle.net/20.500.11937/75810.
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This research focuses on the design and creation of a storyteller panorama tour. It showcases large physical museum objects and demonstrates how to combine digital technologies in a museum environment to engage visitors. It tells the story of the Markham car collection using panorama technologies, including interactive digital rich multimedia resources. The research also provides a methodological reference on how to evaluate the user experience of museum-related digital productions or projects.
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Sayer, Rosemary. „Stitching the fabric of life: Refugee stories and the non-refugee narrator. A creative non-fiction manuscript and exegesis“. Thesis, Curtin University, 2019. http://hdl.handle.net/20.500.11937/76122.
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This thesis is presented as a work of creative non-fiction and an accompanying exegesis. Together, they explore how narrative identity can be developed by people of a refugee background through a collaborative process of working with a non-refugee narrator. In my creative non-fiction work, Stitching the fabric of life, I collaborate with 11 women and three men to create a series of life stories to challenge the over-generalised notion of “the refugee experience”.
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Girak, Susan. „forget me not: An exhibition –and– Creative Reuse: How rescued materials transformed my A/r/tographic practice: An exegesis“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1618.
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This thesis, comprising of a written exegesis, solo exhibition and an artist book, emerged from research undertaken by an artist-researcher-teacher. For that reason, a/r/tography was the overarching methodology used, incorporating a bricolage of methods to address a multifaceted study undertaken in two settings: a primary school classroom and an artist’s studio. A/r/tography is a multilayered interdisciplinary Arts education research methodology that correlates well with my expertise as a primary Visual Arts specialist. The methodology allowed me to immerse myself in both teaching and the artmaking process, as ways of gaining a deeper understanding of Visual Arts pedagogy. The purpose of the study was to examine what the impact of making art with discarded materials had on raising environmental consciousness, from the viewpoint of an artist-researcher-teacher. Additionally, this research was positioned within the United Nations Decade of Education for Sustainable Development (2005–2014) and Sustainability, a cross-curriculum priority in the Australian Curriculum. The aim of this research was to show that Visual Arts is an effective way to embed Sustainability in the curriculum.
In a two-phase study, the role of artmaking to facilitate shifts towards sustainability was investigated among 12-year-olds and myself in my creative praxis. In Phase One, 20 primary school students, from an area of high socio-economic advantage, participated in a 10-session Visual Arts program, using discarded materials to make and exhibit artworks with an environmental focus. Then, as an artist, I followed the same brief as the students, resulting in an exegesis and two creative components: an artist book incorporated into the exegetical writing and a solo exhibition at Edith Cowan University’s Spectrum Project Space in October 2014.
This study showed that the creative reuse of discarded materials promoted reflexivity and raised sustainable awareness, leading to positive attitudinal and behavioural shifts in both the students and myself. The outcome of my creative component was a catalyst for shifts in the way I made art and the way I taught Visual Arts. By immersing myself in the artmaking process, I questioned unsustainable artmaking processes and moved towards reducing my own environmental footprint. The symbiotic nature of a/r/tography meant that new knowledge gained in the studio could be transferred to the classroom. The results of the research are presented through this exegetical writing and an exhibition, which included: returning to techniques that promoted reflexivity; exploring the ephemeral through photography; and demystifying the artmaking process through an artist book. The most significant finding of this study was that the physical act of artmaking enabled the students and me to re-examine our behaviours and to reconsider the value of discarded materials, which in turn triggered shifts in our awareness towards sustainability.
Self-initiated behavioural shifts in the students included reusing materials and reducing consumption. Further, the students were able to make personal connections between their behaviours and their environmental footprints. This has implications for teachers integrating Sustainability. Arts-led education provides an alternative approach to teaching Sustainability across the curriculum. A set of recommendations arising from the research include: to provide support mechanisms to assist in-service teachers to implement Visual Arts-led Sustainability programs in primary schools; to introduce a/r/tography into pre-service teacher training; and for REmida WA to provide professional learning to support innovative, low-cost, multimodal in-service teacher training for Visual Arts-led Sustainability programs.
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King-Smith, Leah. „Reading the reading : an exegesis on "traces... vestiges... energies... a relic... landmark... stage: New Farm Powerhouse Project"“. Thesis, Queensland University of Technology, 2001.
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As an artist Leah King-Smith has worked for several years in the creative medium of photography exploring notions of multidimensional states of consciousness particularly in reference to the psychic work of Jane Roberts. In this thesis King-Smith presents her creative developments as a technological shift from analogue to digital imaging, and continues, in her Research Project, to follow the same threads of investigation into the use of multi-layering as symbol and expression of simultaneous time. The thesis is two-fold in approach where in the first section, processes, contexts and concepts are presented and in the second section the themes and analysis of the final works are expressed through a creative writing style. The dichotomous method of interpretation in these two sections embodies
the antithetical relationship artists experience between reflexive analysis and creative practice as methods of knowledge.
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Adji, Alberta Natasia. „The fragmented self the longing (novel) and intergenerational relations in a Chinese Indonesian family (exegesis)“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2023. https://ro.ecu.edu.au/theses/2670.
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This creative arts–based thesis consists of two parts, a generational novel, “The longing”, and an accompanying essay, “Intergenerational Relations”. The novel is set in Indonesia over several decades from the 1950s to the Reformasi era in the 2010s, covering the 1965 Communist Purge, Suharto’s New Order (1966-1988) and the May 1998 Riots. It depicts various experiences and challenges of Chinese characters, such as, arranged and intercultural marriages, financial stress, domestic violence, physical and mental ill-health, child-rearing, business- and career-building, state-sponsored violence, and religious and cultural marginalisation. The novel draws on data from diverse sources, including family stories, personal observations, diary entries, memories, and historical and literary works. It aims to convey dynamic and complex experiences of three related and enterprising Chinese women living in a predominantly Javanese Muslim country. Dido, a woman in her twenties and the novel’s narrator, has Chinese and Javanese parentage. She is a diarist and documentary filmmaker who tells stories about her own upbringing, work and relationships; about her grandmother, Ah Lam, who establishes a restaurant to provide for her family; and about her mother, Ming Zhu, an accomplished pianist who marries a Javanese man and converts from Catholicism to Islam. My depictions of the women and their relationships, while necessarily imagined and partly fictitious, also draw substantively on my family’s lived experiences. The novel’s title, “The longing”, refers to Chinese Indonesians’ aspiration to be acknowledged as a permanent community within the Indonesian population.
The essay discusses creative arts–based research and the cyclical connection between practice-led and research-led methods that guided and sustained the fictionalising process. It also discusses my choices of narrative inquiry and intersectional feminism as methodological and theoretical approaches that assist the aim of the thesis to illuminate ethnic tensions and marginalised perspectives while promoting diversity, acceptance and unity. Among various literary, theoretical and historical sources discussed in the essay, I point to the influence of Chandra Talpade Mohanty’s Third World Women and the Politics of Feminism and my insider authorial position as a middle-class Christian Chinese Indonesian woman. The essay also explains that choosing autofictional literary techniques for “The longing”, such as employing an autodiegetic narrator who uses first- and third-person limited narration and past and present tenses to tell my family stories – but whose heritage, work and romantic life differ from my own—served not only thematic and dramatic ends but also aided the creative writing process over multiple drafts by generating necessary distance between my own and my characters’ experiences, including of ethnicity-based rejection.
The essay contends that Chinese women’s roles in running households and becoming breadwinners and cultural negotiators during periods of increased anti-Chinese sentiment have been explored by only a few writers. Using creative writing, narrative inquiry, intersectional feminism, and historical and literary investigation, the thesis creates new knowledge and understandings about Chinese Indonesians.
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Klaebe, Helen Grace. „Creative work: Onward bound: The first fifty years of Outward Bound Australia and Exegesis written component: Creatively writing historical non fiction“. Thesis, Queensland University of Technology, 2004. https://eprints.qut.edu.au/16296/1/Helen_Klaebe_Thesis.pdf.
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Onward Bound: -- the first 50 years of Outward Bound Australia traces the founding and development of this unique, Australian, non-profit, non-government organisation from its earnest beginnings to its formidable position today where it attracts some 5,000 participants a year to its courses.
The project included interviewing hundreds of people and scouring archives and public records to piece together a picture of how and why Outward Bound Australia (OBA) developed -- recording its challenges and achievements along the way.
A mediated oral history approach was used among past and present OBA founders, staff and participants, to gather stories about their history. This use of oral history (in a historical book) was a way of cementing the known recorded facts and adding colour to the formal historical outline, while also giving credence to the text through the use of 'real' people's stories.
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Klaebe, Helen Grace. „Creative work: Onward bound: The first fifty years of Outward Bound Australia and Exegesis written component: Creatively writing historical non fiction“. Queensland University of Technology, 2004. http://eprints.qut.edu.au/16296/.
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Onward Bound: -- the first 50 years of Outward Bound Australia traces the founding and development of this unique, Australian, non-profit, non-government organisation from its earnest beginnings to its formidable position today where it attracts some 5,000 participants a year to its courses.
The project included interviewing hundreds of people and scouring archives and public records to piece together a picture of how and why Outward Bound Australia (OBA) developed -- recording its challenges and achievements along the way.
A mediated oral history approach was used among past and present OBA founders, staff and participants, to gather stories about their history. This use of oral history (in a historical book) was a way of cementing the known recorded facts and adding colour to the formal historical outline, while also giving credence to the text through the use of 'real' people's stories.
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Mundy, Robyn C. „A novel, The nature of ice and exegesis, Writing with light : truth and meaning in visual representations of Antarctica“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2006. https://ro.ecu.edu.au/theses/356.
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The Nature of Ice' comprises a dual narrative with two Antarctic stories set one century apart. The contemporary strand concerns three central characters: Freyr Jorgensen, a photographer working for a summer at Davis Station who is inspired by Frank Hurley's early Antarctic photography; Davis Station chippie Chad McGonigal, assigned as Freyr's field assistant; and Freyr's husband Marcus, who is at home in Perth researching the 1911-14 Australasian Antarctic Expedition (AAE) in preparation for Freyr's Antarctic photographic exhibition.
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McLaren, Sasha. „Material Synthesis: Negotiating experience with digital media“. The University of Waikato, 2008. http://hdl.handle.net/10289/2761.
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Given the accessibility of media devices available to us today and utilising van Leeuwen's concept of inscription and synthesis as a guide, this thesis explores the practice of re-presenting a domestic material object, the Croxley Recipe Book, into digital media. Driven by a creative practice research method, but also utilising materiality, digital storytelling practices and modality as important conceptual frames, this project was fundamentally experimental in nature. A materiality-framed content analysis, interpreted through cultural analysis, initially unraveled some of the cookbook's significance and contextualised it within a particular time of New Zealand's cultural history. Through the expressive and anecdotal practice of digital storytelling the cookbook's significance was further negotiated, especially as the material book was engaged with through the affective and experiential digital medium of moving-image. A total of six digital film works were created on an accompanying DVD, each of which represents some of the cookbook's significance but approached through different representational strategies. The Croxley Recipe Book Archive Film and Pav. Bakin' with Mark are archival documentaries, while Pav is more expressive and aligned with the digital storytelling form. Spinning Yarns and Tall Tales, a film essay, engages and reflects with the multiple processes and trajectories of the project, while Extras and The Creative Process Journal demonstrate the emergent nature of the research. The written thesis discusses the emergent nature of the research process and justifies the conceptual underpinning of the research.
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Pace, Kimberley Simone. „Peel, Fondle, Ogle: An exhibition and Unfixed parameters: A creative arts praxis investigation of the in-between conditions of the corporeal body: An exegesis“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1759.
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This research emerged from a rejection of the corporeal body as a clean, sterile entity that can be neatly contained by the boundaries of skin. Informed by Lacan’s (1977, 1979) notions of the body and desire and Kristeva’s (1982) perspectives on the abject, I have developed a concept of the unfixed status of the body as an in-between condition. This investigation of the in-between condition of the body critically explores notions of the corporeal body as constructed physically, psychically and symbolically through my creative arts praxis concerning the body, garment, object and performance. This exegesis unveils the potential for a reflexive and critical investigation of the in-between condition through a blurring of garment and the body. This blurring reveals the undefined margins of the body that simultaneously manifest desire and repulsion for the viewer and wearer (viewed). This critical inquiry, carried out through the merging of theory and practice in my creative arts praxis, forms the reflexive methodology that demonstrates the body is in a constant state of change and is an unstable concept. The in-between condition demonstrates the body as penetrable, fluid and ambiguous. The unfixed parameters of the body are both disturbing and enticing and have been explored through the accumulative exhibitions undertaken throughout my candidature; Fashion[ing] forms (2014), Becomings (2014), Progress (2013), The in-between: An inquiry of the body. The final exhibition of my candidature, Peel, Fondle, Ogle in February 2015 explored the potential for the gaze of both the viewer and the viewed (Lacan, 1979) to physically and emotionally generate a response to the in-between condition of the body. Experimentation of gaze within this research extends the notion of the body’s uncontainable status due its in-between condition. It further reveals how relationships to and of the body are formed individually and collectively through viewer encounters.
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Slatter, Angela Gaye. „Sourdough & other stories : a story told in parts (a mosaic novel and exegesis)“. Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/50910/1/Angela_Slatter_Thesis.pdf.
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The mosaic novel - with its independent 'story-tiles' linking together to form a complete narrative - has the potential to act as a reflection on the periodic resurfacing of unconscious memories in the conscious lives of fictional characters. This project is an exploration of the mosaic text as a fictional analogue of involuntary memory. These concepts are investigated as they appear in traditional fairy tales and engaged with in this thesis's creative component, Sourdough and Other Stories (approximately 80,000 words), a mosaic novel comprising sixteen interconnected 'story-tiles'. Traditional fairy tales are non-reflective and conducive to forgetting (i.e. anti-memory); fairy tale characters are frequently portrayed as psychologically two-dimensional, in that there is no examination of the mental and emotional distress caused when children are stolen/ abandoned/ lost and when adults are exiled. Sourdough and Other Stories is a creative examination of, and attempted to remedy, this lack of psychological depth. This creative work is at once something more than a short story collection, and something that is not a traditional novel, but instead a culmination of two modes of writing. It employs the fairy tale form to explore James' 'thorns in the spirit' (1898, p.199) in fiction; the anxiety caused by separation from familial and community groups.
The exegesis, A Story Told in Parts - Sourdough and Other Stories is a critical essay (approximately 20,000 words in length), a companion piece to the mosaic novel, which analyses how my research question proceeded from my creative work, and considers the theoretical underpinnings of the creative work and how it enacts the research question: 'Can a writer use the structural possibilities of the mosaic text to create a fictional work that is an analogue of an involuntary memory?' The cumulative effect of the creative and exegetical works should be that of a dialogue between the two components - each text informing the other and providing alternate but complementary lenses with which to view the research question.
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Hall, Grant. „Holey Umbrella an exegesis submitted to Auckland University of Technology in partial fulfilment of the degree of Master of Creative Writing (MCW), 2008 ; Fissure (an extract), 2009 /“. Click here to access this resource online, 2009. http://hdl.handle.net/10292/803.
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The creative outcome of my Masters Degree is an extract of my manuscript for a novel. The extract is 40,000 words in length and represents approximately one half of the completed novel. Fissure is the title of the novel. It is a novel which is unconventional in relation to the mainstream understanding of what a traditional novel is. Fissure aims to position itself within a post modern framework. It consists of two primary narratives set apart in time.
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com, johnstubley@yahoo, und John Stubley. „"the lonely and the road (novel) Whats your road, man?: my experiences with the life and work of Jack Kerouac in relation to the development of the lonely and the road (exegesis)“. Murdoch University, 2008. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20081210.120038.
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Thirty thousand feet above the Pacific Oceansomewhere between Sydney and Los Angelesthe narrator of the lonely and the road doesnt really know where he is going, or why. His is a quest written spontaneouslyon-the-go. It is a journey of uncertain motivation, of uncertain means, towards uncertain ends. From Los Angeles, to Vegas, to the Rocky Mountain states and beyond, the narrator travels with and learns from his friends, his family and even his ex-girlfriend as he searches for that which continues to elude him. But what is that exactly? Does it even exist?
While the novel details a journey, the exegesis is a phenomenological account of the intersecting of my road with that taken by Jack Kerouac. It explores my experiences with the life and work of Kerouacthe creator of spontaneous prosein relation to the development of my writing, up to and including this novel. In doing so, the exegesis is itself a quest that seeks to understand more fully the essence of Kerouacs and my own representation of the quest motif in content and in form. Both the exegesis and the novel, then, constitute part of the search for my own artistic road, and aim to assist others in search of theirs.
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(9833483), Peter Scottney-Turbill. „General Yueh Fei: A novel and accompanying exegesis“. Thesis, 2009. https://figshare.com/articles/thesis/General_Yueh_Fei_A_novel_and_accompanying_exegesis/13457093.
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The project comprises a novel with the working title, General Yueh Fei, and an accompanying exegesis. The novel is a work of the historical fused with elements of fantasy, exploring the life and times of China's national hero, and the project comes to focus on Yueh Fei's sense of patriotism and his battles against the invading barbarians. Narrated by the ghost of the protagonist, the novel also examines the emotional conflict within Yueh Fei himself and between him and two other main characters within the Imperial Court. Central to the conflict is the effect on the protagonist of the fall of the capital city, Kaifeng, that split China into Northern and Southern Sung following a humiliating peace treaty with the barbarians. The novel is written in the first person narrative mode and describes these fictionalized historical events and the surrounding circumstances that culminated in the arrest and murder of General Yueh Fei and his son, Yueh Yun. The exegesis is an informed reflection on the novel, calling on critical and theoretical thinking relevant to the writing in English of a Chinese based historical romance novel as well as cognate works in fiction and film. It gives an account of what inspired the work and the sources drawn on in creating it, positioning the work generically and exploring its theoretical basis and affiliations including the related issue of the Orientalism/authenticity nexus in the historical romance novel.
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(9839255), Kristy Taylor. „Mungabah: A rural romance novel and exegesis“. Thesis, 2018. https://figshare.com/articles/thesis/Mungabah_A_rural_romance_novel_and_exegesis/13445792.
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This Masters by research consists of a rural romance novel called Mungabah, and an accompanying exegesis. The novel is set in remote south western Queensland in the contemporary period and evolves through the life of Kylie, effectively a lost city girl from Brisbane who unsuspectingly inherits a large run-down farm and homestead in the country and who is also betrayed by her boyfriend boss in the city. Love develops between Kylie and a good looking farm hand called Jack, though this is not straight forward because they could be related. In the country Kylie flounders as she finds herself completely out of her depth in rural life, but gradually finds her feet and makes herself an integral part of the community, gaining a better understanding of herself and finding love along the way. The rural romance sub-genre has become very popular amongst both writers and readers in Australia yet the sub-genre and reasons for its popularity remain underrepresented in the scholarly literature (Flesch 2004; Fletcher 2013). Situating my study within this gap in the literature, my aim in the exegesis is to explain how I have created a novel that applies inventive ways to incorporate pair-bonding and social issues into the narrative and plot, while concurrently respecting the integrity of romance as a genre with its core set of conventions around the protagonists’ quest for ‘true love’. Mirmohamadi (2015) argues that ‘the burgeoning genre of Australian rural romance novels...shares significant and defining generic features with romance fiction...it also reworks conventional forms to address current socio-historical conditions in rural Australia’. Advancing the innovation of the romance genre means challenging the established tacit ‘rules’ of the form as well as challenging the normative tendencies traditionally reinforced in the genre.
Using the practice-led research methodology and drawing on literary theory and the essential elements of published Australian rural romance novels, the exegesis explains how my artefact innovates on the form and content of the Australian rural romance by subverting some of the tropes used in rural romances. This Masters makes an original contribution to the existing scholarly knowledge of rural romance novels and the application of its generic attributes to a creative artefact.
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Cortese, Raimondo. „Hyperrealism and the everyday in creative practice : exegesis, play, novel“. Thesis, 2014. https://vuir.vu.edu.au/25842/.
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The aim of this exegesis, play and novel is to develop a practice-led poetics of
everyday theatre and literature. This emerged from a research question about the way
the everyday is constituted within my own practice and within contemporary theatre
in Melbourne and overseas. The major component of the exegesis is to analyse my development as a writer
and dramaturg of performance texts with Ranters Theatre over a twenty-two-year
period, covering three phases of work, each of which engage everydayness as part of its
methodology. A key focus is text dramaturgy, how the text is constructed, critiqued and
dramaturged in order to create a finished performance text or novel. Comparison is
drawn with other contemporary theatre practitioners in Melbourne and overseas that
also engage the everyday as a central component of their raison d’être.
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Luckie, Patsy Rae, University of Western Sydney, College of Arts und School of Humanities and Languages. „Writing women's lives : women's autobiographies (exegesis): mourning and memorialisation (creative work)“. 2006. http://handle.uws.edu.au:8081/1959.7/31847.
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This thesis consists of two parts – a creative work, Memory and Memorialisation, and an exegesis, Writing Women’s Lives: Women’s Autobiographies,that documents the writing process and the theoretical perspectives informing it at various stages. It is the result of a twelve year investigation into the writing process; the nature of memory, death and desire in objects and places; and their role in personal representation. The exegesis highlights the difficulties encountered in simultaneously writing and critiquing one’s own autobiographical works. As autobiography is also written ‘in relation to’ significant others, the emotional, ethical and legal issues inherent in the writing and publication of autobiographical works are explored. The creative work is not a unitary text and comprises a collection of fragmented yet connected autobiographical stories that experiment with form using archival collections – a blending of memory with family and local history – the results of excavating the past to make meaning in the present. Images are used singly and in collages to signify the temporality and intertextuality of these auto/biographical acts. Restriction: View part thesis only. Contact UWS Library for terms of full-access.Doctor of Philosophy (PhD)
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Luckie, Patsy Rae. „Writing women's lives : women's autobiographies (exegesis): mourning and memorialisation (creative work)“. Thesis, 2006. http://handle.uws.edu.au:8081/1959.7/31847.
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This thesis consists of two parts – a creative work, Memory and Memorialisation, and an exegesis, Writing Women’s Lives: Women’s Autobiographies,that documents the writing process and the theoretical perspectives informing it at various stages. It is the result of a twelve year investigation into the writing process; the nature of memory, death and desire in objects and places; and their role in personal representation. The exegesis highlights the difficulties encountered in simultaneously writing and critiquing one’s own autobiographical works. As autobiography is also written ‘in relation to’ significant others, the emotional, ethical and legal issues inherent in the writing and publication of autobiographical works are explored. The creative work is not a unitary text and comprises a collection of fragmented yet connected autobiographical stories that experiment with form using archival collections – a blending of memory with family and local history – the results of excavating the past to make meaning in the present. Images are used singly and in collages to signify the temporality and intertextuality of these auto/biographical acts. Restriction: View part thesis only. CONTACT AUTHOR FOR FULL ACCESS.
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Gabriel, Matthew. „Deterrence vivarium: a collection of stories and exegesis“. Thesis, 2017. http://hdl.handle.net/2440/105381.
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The thesis Deterrence Vivarium is made up of a creative component and an exegesis. The creative component is a collection of eight pieces of fiction ranging in style and length, from microfictions to short stories and concluding with a novella. The opening story “Amsterdam” begins with the protagonist attempting to deal with the disintegration and loss of a relationship. The world around them reflects this sense of decay and the central character’s helplessness in taking control in a world whose threat encroaches upon his very perception of the physical space around him. The story “ONFF” follows on by inviting the reader into the narrator’s willful misperception of the world around them, using a room in his parent’s house to teach found electronic objects a new way of thinking and being. “jesussaves82” is an online date gone wrong. Both participants are more concerned with the idea of connecting with another person, rather than thinking about who that person may be. With one of them acting like Jesus, it is bound to fail. “The Suitcase” is a story of memory in which the disappearance of a father and the finding of an old man with Alzheimer’s on the street coincide for a mother and child. “Deterrence Vivarium”, the title piece, looks at the method a couple on the cusp of retirement take to eradicate a series of older selves that are scaling their back wall and making camp in their yard. “To My Son” is an epistolary short story in which a father leaves a beautifying face brace patent for what he sees and declares is his ugly son. He hopes it will redeem with wealth his failure as a father so far. “Imago” finds the central character turned into a copy of Kafka’s Metamorphosis in the bedroom of a woman who took him home in a failed one-night stand. The final piece, “By Numbers”, is a novella that follows Callum Ryder, a man who has left his job for no particular reason beyond his dislike for his work. He redeems an offer for a free cosmetic procedure he found in his spam folder and finds himself entwined in the madness of Doctor Hensen and his elusive partner in their activities. The exegetical component acts as a critical map of the influences and motivations that are embedded in the creative process of the collection’s construction. It traces the relation of these pieces to a broader context, including the textual, the conceptual and social. It looks at the role and relationship of the exegesis and its purpose. And finally, draws out specific aspects of the writing as a collection, from its humor to its underlying concerns, and argues that in spite of the limits and breakdown of communication and language that are reflected in these stories, there is in turn a vital need to attempt to move towards empathy and understanding.Thesis (M.Phil.) -- University of Adelaide, School of Humanities, 2017.
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(9823409), Charmaine O'Brien. „Developing psychological resources for creative writing through challenging stereotypes in Australian food history: A creative work and exegesis“. Thesis, 2018. https://figshare.com/articles/thesis/Developing_psychological_resources_for_creative_writing_through_challenging_stereotypes_in_Australian_food_history_A_creative_work_and_exegesis/13448012.
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The necessity for innovative responses to sustain our natural environmental, social and cultural wellbeing and economic prosperity is a constant refrain in contemporary society. Creativity is the prerequisite for innovation and creativity is a driving force in the modern economy. creative skills will be key assets for individuals, organisations and
communities into the future and creative people will be seen as the source of innovative ideas. Developing creative capabilities in individuals is therefore of vital importance and advancing knowledge about creativity is essential to achieving this growth. Studying the practice of creative individuals holds significant potential to progress understanding on
how to develop creativity more widely. Situated in the field of creative writing, using a food history project as the vehicle, this thesis seeks to demonstrate through the example of an individual writer’s experience of creative process and performance, how creative writing research contributes to wider understanding of creativity and how it can be
developed.
Through investigation of primary resources, supported by secondary material, the creative work of this thesis, ‘The Colonial Kitchen’ mounts a compelling challenge to the accepted notions of Australia’s colonial food history – that the colonial diet was abominable and colonial cooks incompetent. It argues as a main theme that social aspiration and defence of class privilege had a significant influence on the reporting of
colonial foodways. Additionally, it notably demonstrates colonial literature as a rich and largely untapped source of culinary reference. In doing so, the work offers a new, more nuanced and considered understanding of the food production, cookery and eating practices of colonial Australians, thereby making a contribution to food history.
Creativity is largely a psychological phenomenon. During the process of producing the creative work, the author documented her psychological experience in a journal with the aim to capture direct experience of the creative challenge of producing a work of measured contest to established historiography. The data resulting from this experiment
was the starting point for the exegetical component of this thesis that explores the psychological resources that are utilised in the creative process and how these might potentially be developed. The exegesis employs a mixed methodology including practice led and phenomenological elements. A review of the literature of the psychology of creativity furnishes the theoretical tools through which the psychological material of the writing journal is explored in a series of coaching sessions between the author and a psychological coach. Through this exploration, the exegesis concludes that focused human-centered support, informed by understanding of the complex multi-factorial nature of creativity, offers a valuable approach to creativity development. A set of guidelines derived from the research findings is offered as tool for supporting the development of psychological resources for creativity in individuals.
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Harris, Catherine. „‘Kardinia’: a novel and exegesis“. Thesis, 2015. https://vuir.vu.edu.au/32530/.
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This doctoral thesis is concerned with two interrelated components exploring literary
form and style as they relate to the reading and writing of unsympathetic characters.
Section one (30%), the analytical written component, examines these themes
in light of three novels that have influenced my creative work: The member of the
wedding (Carson McCullers), After leaving Mr. Mackenzie (Jean Rhys) and The
driver’s seat (Muriel Spark). These novels have all been criticised for formal
considerations, often attributed to socio-cultural qualities such as the authors’ gender,
ethnicity, and/or personal histories, that inhibit readers’ engagement with the
narrative. Rather than looking to reconcile these elements, this exegesis aims to find a
theoretical bridge that enables a complementary analysis of the texts without resorting
to essentialism. Douglas’s notion of dirt as “matter out of place” and Kristeva’s use of
abjection present as useful analytical terms, but key components of their frameworks
limit their applicability across place and time. Duschinsky’s “purity discourses”
remedies these limitations, incorporating dirt and abjection into a flexible, nonessentialist,
ideologically contingent theoretical mechanism. This mechanism is
overlaid across Douglas’s three-part description of the process of dirt (from ‘safe’
non-differentiation, to differentiated and ‘dangerous’, to a return to indiscriminate
formlessness) allowing a three-part analysis of the novels, whose narrative arcs
conform to this same pattern.
Section two (70%), ‘Kardinia’ (the creative component), a novel about a
young man caught between two worlds, mirrors the three-part structure of the novels
from the exegesis (from ‘safe’ dirt, Harry becomes differentiated and ‘dangerous’,
before returning to indiscriminate formlessness), intentionally manipulating reader
engagement and sympathies, taking a character with an abject status and resolving his
trajectory in a story of unexpected salvation and hope.
Each of these four novels demands an engagement with the “in-between, the
ambiguous and the composite” (Kristeva 1982, p. 4). This engagement challenges the
hegemony of a narrative form reliant on easy relateability and comfortable
resolutions, thereby contributing to the diversification of our expectations of the role
and structure of fiction.