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Scott, Graham Robert. "Teaching the team-authored text." Diss., UC access only, 2009. http://proquest.umi.com/pqdweb?index=151&did=1871875201&SrchMode=1&sid=1&Fmt=7&retrieveGroup=0&VType=PQD&VInst=PROD&RQT=309&VName=PQD&TS=1270495997&clientId=48051.
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Thesis (Ph. D.)--University of California, Riverside, 2009.<br>Includes abstract. Includes bibliographical references (leaves 233-245). Issued in print and online. Available via ProQuest Digital Dissertations.
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Cheung, Kevin Yet Fong. "Understanding the authorial writer : a mixed methods approach to the psychology of authorial identity in relation to plagiarism." Thesis, University of Derby, 2014. http://hdl.handle.net/10545/324822.
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Academic writing is an important part of undergraduate study that tutors recognise as central to success in higher education. Across the academy, writing is used to assess, develop and facilitate student learning. However, there are growing concerns that students appropriate written work from other sources and present it as their own, committing the academic offence of plagiarism. Conceptualising plagiarism as literary theft, current institutional practices concentrate on deterring and detecting behaviours that contravene the rules of the academy. Plagiarism is a topic that often elicits an emotional response in academic tutors, who are horrified that students commit these ‘crimes’. Recently, educators have suggested that deterring and detecting plagiarism is ineffective and described moralistic conceptualisations of plagiarism as unhelpful. These commentaries highlight the need for credible alternative approaches to plagiarism that include pedagogic aspects of academic writing. The authorial identity approach to reducing plagiarism concentrates on developing understanding of authorship in students using pedagogy. This thesis presents three studies that contribute to the authorial identity approach to student plagiarism. Building on the findings of previous research, the current studies used a sequential mixed-methods approach to expand psychological knowledge concerning authorial identity in higher education contexts. The first, qualitative, study used thematic analysis of interviews with 27 professional academics teaching at institutions in the United Kingdom. The findings from this multidisciplinary sample identified that academics understood authorial identity as composed of five themes; an individual with authorial identity had confidence; valued writing; felt attachment and ownership of their writing; thought independently and critically; and had rhetorical goals. In addition, the analysis identified two integrative themes representing aspects of authorial identity that underlie all of the other themes: authorial identity as ‘tacit knowledge’ and authorial identity as ‘negotiation of identities’. The themes identified in the first study informed important aspects of the two following quantitative studies. The second study used findings from the first study to generate a pool of questionnaire items, assess their content validity and administer them to a multidisciplinary sample of 439 students in higher education. Psychometric analyses were used to identify a latent variable model of student authorial identity with three factors: ‘authorial confidence’, ‘valuing writing’ and ‘identification with author’. This model formed the basis of a new psychometric tool for measuring authorial identity. The resultant Student Attitudes and Beliefs about Authorship Scale (SABAS) had greater reliability and validity when compared with alternative measures. The third study used confirmatory factor analysis to validate the SABAS model with a sample of 306 students. In addition, this study identified aspects of convergent validity and test-retest reliability that allow the SABAS to be used with confidence in research and pedagogy. The overall findings of the combined studies present a psycho-social model of student authorial identity. This model represents an important contribution to the theoretical underpinnings of the authorial identity approach to student plagiarism. Differing from previous models by including social aspects of authorial identity, the psycho-social model informs future pedagogy development and research by outlining a robust, empirically supported theoretical framework.
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MacDonald, Sarah Nicole. "WORKING WOMEN’S LIFE WRITING AND AUTHORIAL COMPETENCY." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1511353472506823.
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Kroeger, Robert. "Admission Control for Independently-authored Realtime Applications." Thesis, Waterloo, Ont. : University of Waterloo, 2004. http://etd.uwaterloo.ca/etd/rjkroege2004.pdf.
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Thesis (Ph.D.)--University of Waterloo, 2004.<br>"A thesis presented to the University of Waterloo in fulfilment of the thesis requirement for the degree of Doctor of Philosophy in Computer Science". Includes bibliographical references.
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Herrmann, Andrew F. "Mucking Around: A Co-authored Organizational Autoethnography." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/819.
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Wander, Kristine Claire. "Multi-Authorial Design for an Assisted Living Center." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148260878.
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Flanagan, John. "The Carver Canard: Textual Restoration as Authorial Effacer." ScholarWorks @ UVM, 2012. http://scholarworks.uvm.edu/graddis/82.
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On July 8th, 1980, Raymond Carver wrote an impassioned letter to his editor, Gordon Lish, begging him to cancel the publication of what would soon become Carver’s minimalist masterpiece, What We Talk About When We Talk About Love. Carver argues in his letter that Lish’s heavily-edited versions of his original stories were bound to cause Carver's death. Despite his anxieties, Carver’s authorial demise didn’t come until 2009, 21 years following his physical death, when the unedited versions of the What We Talk About stories appeared in a posthumous collection called Beginners. Beginners excises Lish’s excisions, exposing a Raymond Carver at odds with his minimalist identity. The “restored” text also displaces Carver as the sole author of his work. We learn from Carver’s effacement that any cultural construction of an author is an erroneous effigy. Beginners exemplifies how textual restorations deflate cultural myths as they work with original texts to enrich our understanding
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Dechant, Dennis Lyle 1979. "Transformations of Authorial Representation in the Manesse Codex." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10625.
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viii, 80 p. : ill. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.<br>The author portraits from the Manesse Codex, a 14th-century compilation of
German love lyrics, have traditionally been viewed as expendable illustrations to the
accompanying texts. In fact, these paintings profoundly affected how contemporary
readers would have understood the poems, thus helping shape social attitudes regarding
the nature and meaning of authorship. Three specific images in the manuscript reveal
various modulations in the patron's or artist's attitude towards authorship. The
frontispiece for Der von Kiirenberg reconfigures a traditional motif to encourage an
autobiographical understanding of his lyrics. Ulrich von Liechtenstein's image draws on
sources outside the manuscript to promote a similar interpretation. In a third image, the
poet Johannes Hadlaub, who appears to have participated in the making of the
manuscript, deliberately exploits the image's ability to shape expectations of his status
as an author by having himself depicted as if he had experienced the events described in
his poetry.<br>Committee in Charge:
Dr. Richard A. Sundt, Chair;
Dr. James Harper;
Dr. Lori Kruckenberg
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Adair, Thomas James. "Shakespeare vs. Middleton : authorial disagreement in Timon of Athens." Thesis, King's College London (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.265859.
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Olivier, Aletta Petronella. "Authorial voice as a writing strategy in doctoral theses." Thesis, University of Pretoria, 2017. http://hdl.handle.net/2263/65596.
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Voice is not a new concept in writing; however, it is relatively new in the field of academic writing. The main aim of this research is to determine how voice as a social construct is understood and perceived by doctoral students and supervisors from the faculties of Humanities and Social Sciences at a South African university. The focus is on the challenges of exhibiting an authorial voice in doctoral writing in particular, with the aim of informing a pedagogical framework of voice that might serve as a foundation for further development of an instructional framework. The term ‘voice’ started to appear in North American composition writing in the mid-1960s as a mark of self-discovery, individualism, and expressivism. However, the emergence of social constructivism led to a marked decrease in the emphasis on individual voice in favour of regarding voice as socialised and constructed. The post-2000 voice era became more nuanced and established a definite niche for voice in academic discourse. The three approaches that influenced written voice most significantly are individualised voice, powered by the expressivist approach; socialised voice, which embraces voice as multi-dimensional and dialogic and embedded in Bakhtin’s heteroglossia; and voice as empowerment, represented by the Academic Literacies Approach. Except for its historic evolution the notion of voice was impacted by Systemic Functional Linguistics (SFL) as a theory of language. Two partially operationalised models, grounded in social constructivism and SFL, provided the substance for designing a heuristic framework for voice: the Engagement Framework, situated in the Appraisal Framework of Martin and White (2005) and Hyland’s (2008a) model of stance and engagement. With the decline of the expressivist approach a number of theoretical and empirical studies propagating a pedagogical approach started to appear. Although these studies validate the need for a visible voice pedagogy, voice has yet to be operationalised as student friendly pedagogical tool. The following research questions guided the research: 1. How is authorial voice theorised in linguistics and applied linguistics? 2. Has the notion of ‘voice’ been adequately operationalised in academic writing contexts? 3. What guidance on developing a voice pedagogy is found in the scholarly literature on writing instruction in higher education? 4. How is the notion of voice understood by supervisors and doctoral students? A qualitative case study was conducted to determine the understanding and perceptions of voice by supervisors and doctoral students by means of semi-structured interviews. The data were systematically analysed and coded using qualitative content analysis. The qualitative data analysis software program ATLAS.ti.2 was used for this purpose. The data yielded four main categories: 1. Assumptions about voice as non-negotiable in doctoral writing; 2. Enablers of voice; 3. Impediments of voice, confirming voice as complex and unstable; 4. Opinions on voice as construct that substantiated gaps in the literature. As the findings point to a need for a pedagogy of voice these categories were translated into parameters for a pedagogy of negotiated voice. The pedagogical model integrates the theory-based heuristic as well as pedagogical attempts at measuring voice and the findings of the empirical study.<br>Thesis (PhD)--University of Pretoria, 2017.<br>Unit for Academic Literacy<br>PhD<br>Unrestricted
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McIntyre, Faye. "Celebrity and authorial integrity in the films of Woody Allen." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ57512.pdf.
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Uba, Sani Yantandu. "Authorial stance in accounting PhD theses in a Nigerian university." Thesis, University of Leeds, 2017. http://etheses.whiterose.ac.uk/18754/.
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Stance has emerged in the literature on academic writing in a major way, and as an important and pervasive mechanism by which academic writers ‘inhabit’ their writing and give it distinctiveness (Baynham, 2011; 2014). In this study, I investigate what linguistic markers of stance accounting PhD authors are more frequently used in Bayero University Kano, Nigeria and what factors might constrain or influence their use. I draw primarily on a corpus-based textual analysis but complement this with a consideration of institutional and disciplinary factors which might explain why the writers investigated write as they do. I employ nine participants: six accounting PhD authors and three accounting PhD supervisors. I compile a corpus of six accounting PhD theses from Bayero University, Kano, Nigeria (BUK corpus), and an accounting sub-corpus: four accounting UK PhD theses (UK corpus) for comparative analysis with the BUK corpus. The result of comparative corpus-based textual analysis between BUK theses shows that there are certain similarities and differences in terms of using stance markers. For example, in terms of similarities all the six authors use higher frequencies of booster than the other categories of stance markers in their result sections; whereas in their conclusion section they all use higher frequencies of hedges than the other categories of stance markers. They also use few restricted typologies of each category of stance markers. On the other hand, there are certain differences in using stance markers, for example, only two out of the six authors use explicit self-mention features. Overall comparative results show that three authors use higher frequencies of hedge than the other categories of stance markers; whereas two authors use higher frequencies of booster than the other categories of stance markers; and one author use same frequency for both booster and hedge. The result of comparative corpus-based textual analysis between the BUK and UK corpora still shows there are certain similarities and differences that both corpora have higher frequencies of hedges than the other categories of stance markers. On the other hand, UK corpus has higher frequencies of attitude markers, neutral stance markers, explicit self-mention features; whereas BUK corpus has higher frequencies of hedge and booster. The contextual data however suggests that several factors might have constrained some of the accounting PhD authors (BUK) to use explicit self-mention features. Some of the factors are: the traditional practices of the University and Department discouraging the students to make themselves explicitly present through the use of personal pronouns; unequal power relationship between lecturers and students; a lack of explicit assumptions of academic writing, as well as absence of explicit statements or rules provided regarding the use of linguistic markers of stance in feedback provided during the supervision process. This study proposes an additional analytic category of stance into Hyland’s model, influenced by Mushin’s factual epistemological stance. The new category is neutral epistemic stance. Unlike previous studies which deal only in parts of theses, this study deals with theses as complete texts in order to add our understanding and knowledge on what linguistic markers of stance are more frequently used in the discipline of accounting across whole macrostructures of the theses particularly at BUK. On the basis of these findings, this study recommends a more broadly a genre-sensitive approach to the teaching of academic writing, including explicit teaching of linguistic markers of stance rather than traditional grammar only. It also recommends raising of awareness of the students on the institutional/social practices in relation to the construction of the PhD thesis, such as the norms and conventions of the discourse community.
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West, Susan Thompson. "From owning to owning up : authorial rights and rhetorical responsibilities." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1287413464.
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Nyffenegger-Staub, Nicole. "Authorising history constructions of authorial self in fourteenth-century English historiography /." [S.l.] : [s.n.], 2008. http://www.ub.unibe.ch/content/bibliotheken_sammlungen/sondersammlungen/dissen_bestellformular/index_ger.html.
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Moss, Zarb Julia. "From the horse's mouth, critical issues of post-publication authorial influence." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/NQ63612.pdf.
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Angelil-Carter, Shelley. "Uncovering plagiarism in academic writing : developing authorial voice within multivoiced text." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1003692.
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Plagiarism is a modern Western construct which arose with the introduction of copyright laws in the eighteenth century. Before this time, there was little sense of artistic "ownership". Since then, the ideas of "originality" in writing as well as the "autonomous text" have been highly valued. In the theoretical section of this dissertation I deal with plagiarism and referencing from three perspectives. After looking at problems of definition of plagiarism, I turn to the first perspective, the historical development of the notions of plagiarism and originality. Alongside this I discuss the notions of "autonomous text" and "decontextualized" language, and attempt to show that these concepts are problematic, and that language is intensely social at the levels of discourses, genres, and the word. The second angle is a snapshot of present-day writing genres, and how they deal with documentation in different ways. The third point of focus is on the development of the student writer, on whom present-day genres of academic writing, and the historically constructed notions of plagiarism converge. Here I centre on the development of the undergraduate student as a writer, and some of the things that may be happening when a student is seen to be plagiarizing. Some of these are the "alienness" of academic discourses, the hybridization of discourses, the need to "try on" academic discourses, the lack of authority of the student writer and her relationship to the authority of the sources, and the way in which languages are learned and reproduced in chunks. I look finally at what the meaning of authorship might be in an intensely social view of language, and at the complexity of developing authorial voice in writing. The dissertation is located in a postpositivist paradigm, and seeks to interpret as well as being oriented towards praxis. The research took place within the Political Studies Department at the University of Cape Town. The study included a discourse analysis of the departmental handbook, as well as analysis of academic essays, at the first year and third year level, which were selected for having problems with referencing, or having plagiarized. A few were selected for good referencing. Students who had written these essays, and tutors and lecturers who had marked them, were then interviewed. In the analysis I explore differing understandings of the role of referencing in the academic essay, what negative and positive consequences the practice of referencing and the monitoring of plagiarism have, with regard to authority and voice in student writing, what might be happening when students are thought to be plagiarizing, and what difficulties are experienced by students in developing an authorial voice when using multiple sources. The study found that there are a range of underlying causes for plagiarism in student writing, which indicate that plagiarism is more a problem of academic literacy than academic dishonesty. It also found that marking practices in detecting plagiarism may sometimes be based on problematic assumptions about the amount of background knowledge and independent ideas which students bring to their writing. I conclude by putting forward a pedagogy for plagiarism and referencing, which is based on 1) the negotiation of shared meaning around the concept of plagiarism, including an examination of assumptions linked to this concept in its monitoring and enforcement, leading to the development of written policy and guidelines emerging from this shared understanding. 2) The development of an academic literacy programme within the curriculum, with attention to the complexities of developing authorial voice whilst constructing a text based on the texts of others, with a focus on authors, which moves students towards an understanding of how knowledge is constructed.
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Adams, Stephen M. "Daniel Defoe's Review and authorial issues in the early English periodical /." free to MU campus, to others for purchase, 1996. http://wwwlib.umi.com/cr/mo/fullcit?p9713219.
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Knifton, Lauren. "Myth and the authorial persona in Ovid's Tristia and Epistulae ex Ponto." Thesis, Durham University, 2014. http://etheses.dur.ac.uk/9481/.
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The Tristia and Epistulae ex Ponto are crucial for understanding Ovid’s use of myth, as he repeatedly uses mythological exempla to illustrate his own condition in exile and to characterise the authorial mask which he adopts in the exilic epistles. My doctorate approaches the author-persona relationship by investigating how Ovid utilises mythological references to construct his persona in literary terms, a methodology that rejects any attempt to reveal the “man behind the mask” and instead focuses on appreciating the complexity of the authorial exilic persona in its own right. By focusing on the mask of the author, this thesis looks in-depth at how the authorial persona is constructed by references to myth and literature, and how this often relates back to other Ovidian personae. My work focuses on the most common myths found in the exile works featuring the gods, epic protagonists, other heroes, the Underworld, and famous wives. The mythical exempla found in the Tristia and Epistulae ex Ponto are commonly equated with the author’s depiction of himself, or paralleled with the portrayals of his wife, friends, and enemies. As these mythical exempla are deployed, Ovid often makes allusions to other texts (Ovidian as well as those by other authors) which feature either the same narratives or characters, giving rise to a rich interplay of myth and intertextual allusions. All in all, the authorial figure in the Tristia and Epistulae ex Ponto, the relegatus poeta, becomes increasingly mythologised as he assumes the guises of the protagonists of tragedy and epic; persecuted, abandoned, and doomed to remain away from his homeland like Ulysses, Jason, and Philoctetes.
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Buck, Ron M. "Narrative criticism, authorial intention, and historicity modern literary criticism and the Gospels /." Theological Research Exchange Network (TREN), 1992. http://www.tren.com.
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Russell, Noel Ray. "Authorial Subversion of the First-Person Narrator in Twentieth-Century American Fiction." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc501035/.
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American writers of narrative fiction frequently manipulate the words of their narrators in order to convey a significance of which the author and the reader are aware but the narrator is not. By causing the narrator to reveal information unwittingly, the author develops covert themes that are antithetical to those espoused by the narrator. Particularly subject to such subversion is the first-person narrator whose "I" is not to be interpreted as the voice of the author. This study examines how and why the first-person narrator is subverted in four works of twentieth-century American fiction: J. D. Salinger's The Catcher in the Rye, F. Scott Fitzgerald's The Great Gatsby, Ernest Hemingway's A Farewell to , and Philip Roth's Goodbye, Columbus
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Garrett, Richard Lee. "Medieval anxieties: translation and authorial self-representation in the vernacular beast fable." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/967.
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Ferrebe, Alice. "Keeping it up : masculinity in male-authored English fiction, 1950-1971." Thesis, University of Edinburgh, 2003. http://hdl.handle.net/1842/24566.
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This thesis examines the significance of the category of the masculine in fiction produced in two decades after the Second World War. It argues that masculinity has an influence not just within the delineation of gender roles, but also upon literary narrative, style and definitions of selfhood. It takes as its focus the work of the white, middle-class, English, fiction-making majority, or rather, a group of male writers who strove to interpellate both themselves and their peers as such. Selected novels by authors such as Kingsley Amis, William Cooper, John Fowles, Andrew Sinclair and Colin Wilson are considered in the social and cultural context of the newlyestablished Welfare State, a time of accelerating capitalism and consumerism. Though they are habitually derided for being apathetic, I will argue that novels of this period have a profoundly political aim: the reassertion of male power and solidarity at a time in which its influence was perceived to be waning. Importantly, these texts are produced before the concerted promptings towards a renegotiation of the concept of gender by Second Wave feminism, and before the publication of Kate Millett's Sexual Politics, which exploded the traditional literary connection of the male with the universal. Chapter One establishes the theoretical and epistemological framework surrounding the category of masculinity, and examines recent critical considerations of a gendered relationship between reader and fictional narrative. Chapter Two posits the category of the 'masculine text'. Such a text functions to channel its reader's desire for traditional narrative pleasure and a privileged cognitive role into the acceptance of a range of masculine definitions and principles, most particularly that of a rational and essential masculine self. Chapter Three examines the influence of existentialism. It argues the potential of the philosophy to deconstruct essentialist masculinity, and assesses the extent to which this radicalism is realised in English fiction of the time. In the light of the developing argument for the influence of masculinity on narrative structure and style, Chapter Four examines some of the formally experimental novels of a 'long Sixties', including those by Thomas Hinde, B. S. Johnson and Colin Maclnnes. It considers the way in which gendered conceptions of subjectivity, sexuality and youth both compromise and are compromised by masculine narrative tropes. This study serves to undermine the idea of masculinity as a stable, definable concept. It ultimately establishes gender as a complex and paradoxical illusion, but an illusion capable of enormous influence over the fiction of the post-war period. Its conclusions extend beyond the two decades of its focus to interrogate the gendered nature of any relationship between reader and text.
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Macon, Lance P. (Lance Perry) 1971. "Securitization : a platform for organic economic growth in emerging markets : authored." Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/17905.
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Thesis (S.M.)--Massachusetts Institute of Technology, Sloan School of Management, 2004.<br>Includes bibliographical references (leaf 53).<br>One of the keys to building a solid economy is the existence of a long term debt market. Long term borrowing is crucial for personal home ownership, the creation of critical infrastructure, and the development of major real estate projects. Most emerging market economies do not have a long term debt market due to numerous factors including political instability, hyper-inflation, and low perceived credit quality. In the light of lending debacles in countries like Argentina and Venezuela, investors tend to punish banks who seek to lend in emerging market economies. For these reasons and more, many lending institutions shy away from lending on a long term basis in these regions. The perceived risk far outweighs the prospect of high returns. The resultant lack of a long term debt market leads to a stagnant or declining economy. Borrowing on a local level too is very difficult as it is cost prohibitive and the prospect of currency risk makes long term lending almost impossible even on a local level. One of the mechanisms used to "spread the risk" of long term debt is the securitization market. This thesis is structured to look at some of the benefits and externalities of securitization as well as look at how a securitization discipline could fit in an emerging markets quest for growth and stability. Additionally, the thesis will identify several reasons why securitization is not commonplace in most emerging markets and identify potential remedies so that securitization can be managed. Finally, this thesis will suggest ways that multilateral agencies and other would-be lenders can help emerging nations succeed without having the massive overhang of costly debt.<br>by Lance P. Macon.<br>S.M.
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Herrmann, Andrew F., Julia A. Barnhill, and Mary Catherine Catherine Poole. "Ragged Edges in the Fractured Future: A Co‐Authored Organizational Autoethnography." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/759.
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Purpose: This article aims to represent three ethnographers researching an organizational event within academia: the Second International Congress of Qualitative Inquiry. It explores the divergent viewpoints of their ethnographic experiences as well as reflecting upon their relationships with each other as they attempted to understand each others’ viewpoints.
Design/methodology/approach: This ethnographic project involved participant observation, full participation, and narrative interviews. However, as the project continued, it evolved to reflexively examining the authors’ own viewpoints and relationships challenges.
Findings: This paper contributes to understanding ethnographic research of organizational events in several ways. First, it is an exemplar of how three ethnographers examining the same organizational event view it through differing lenses. Secondly, it shows how the authors worked together through the research, struggling to understand each others’ varied political and personal lenses through dialogue.
Research limitations/implications: The research examined only one organizational event, therefore the findings are specific to this site and the same results may not necessarily be found in other organizations.
Originality/value: This paper is unique in that three ethnographers from different generations and different political worldviews can come together for the purposes of research, examine an organizational event and learn to cooperate with and appreciate each others’ viewpoints.
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Gordon, Rebecca. "Constructed selves : the manipulation of authorial identity in selected works of Christopher Isherwood." Thesis, Available from the University of Aberdeen Library and Historic Collections Digital Resources, 2009. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?application=DIGITOOL-3&owner=resourcediscovery&custom_att_2=simple_viewer&pid=53335.
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Wang, Ying. "Two authorial rhetorics of Li Yu's, 1611-1680, works, inversion and auto-communication." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ27748.pdf.
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Shea, Colleen Erin. "Early modern women's dream visions, male literary tradition and the female authorial voice." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0023/MQ50096.pdf.
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Olmos, Lopez Pamela. "A framework for analysis of authorial identity : heterogeneity among the undergraduate dissertation chapters." Thesis, Lancaster University, 2015. http://eprints.lancs.ac.uk/78434/.
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Thesis writing is an enterprise which integrates knowledge of different domains, i.e. the subject’s content, rhetoric, academic discourse, the genre they are writing, and research skills (Bartholomae, 1985; Read, et al. 2001; Johns, et al. 2006). The integration of these elements makes thesis writing a challenging endeavour, especially when facing it for first time, as is the case for undergraduates. Thesis writing at undergraduate level becomes more challenging when the writing is in a foreign language. In Mexico, undergraduate students are often required to write a thesis in English. However, researching writing at undergraduate level has sometimes been undervalued as undergraduates are considered to lack an authorial voice (Helms-Park & Stapleton, 2003; Stapleton, 2002). Based on the premise that every piece of writing contains voice (Ivanič, 1998), an element of authorial identity, I focus my research on exploring authorial identity. In my study I analyse how undergraduates, novice writers, express authorial identity across their dissertation chapters. I propose a framework for the analysis of authorial identity (Ivanič, 1998, Hyland, 2010, 2012) and communicative functions, and apply it to a corpus of undergraduate dissertations. The corpus consists of 30 dissertations that are written in English as Foreign Language in the area of Teaching English to Speakers of Other Languages and Applied Linguistics (TESOL/AL) and translation. The framework includes analysis of first person pronouns, passives, impersonal constructions, reporting verbs and evaluative adjectives, which were found to be keywords in these dissertations compared to a reference corpus (the British English 2006 or BE06 corpus). The framework I propose will facilitate the analysis of the writer’s identity and communicative functions as they occur in each chapter of their dissertations. I also include a case study focussing on one participant with the aim of integrating the suggested framework with awareness and understanding of the participant’s self-presentation as a writer. I include some pedagogical implications for L2 writing research, suggesting that students could be made aware of the full range of choices available in academic writing and how they project different authorial identities. I close my thesis by exemplifying the framework within my own case of authorial identity and with a reflection on the authorial identity of speakers of other languages in dissertation writing.
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Walters, Patricia. "The assumed authorial unity of Luke and Acts : a reassessment of the evidence /." Cambridge : Cambridge University Press, 2009. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9780521509749.
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Brett, Aidan. "SEEKING A BALANCE: THE IMPACT OF FOSTERING AUTHORIAL EMPATHY ON TEACHERS AND STUDENTS." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/509326.
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Literacy & Learners<br>Ph.D.<br>This study reports on the impact of the Authorial Empathy Scale (AES), a tool designed to measure responses to literature that balance attention both to authors’ aesthetic choices and to empathetic engagement with the narrative world, on teachers’ instructional practices and students’ written and spoken responses. The research is guided by the following research questions: (1) In what ways, if any, does a literary unit intervention designed to foster readings of authorial empathy shape the teaching practice of two secondary ELA teachers? (2) In what ways, if any, does a literary unit intervention designed to foster readings of authorial empathy shape secondary students’ responses to texts? Data consist of stimulated-recall interviews and discussion transcripts of teachers and students that were analyzed for the goals, tools, and sources of their decisions. The major findings are the use of the AES seemed to facilitate a common approach among teachers and students for generating more balanced responses to texts. However, sustaining the balanced responses faced challenges in the form of institutional rubrics, IRE discussion patterns, and the specific demands of writing tasks. Students who evidenced greater mastery of the conventions of academic writing tended to generate more authorially empathetic responses to texts. During the Authorial Empathy unit, students tended to engage in more extensive and collaborative talk turns during discussion. The results make clear the importance for teachers to select texts, tasks, and tools that support the use of the AES in guiding students to respond with authorial empathy.<br>Temple University--Theses
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Crous, Matthys Lourens. "Presentations of masculinity in a selection of male-authored post-apartheid novels." Thesis, Link to the online version, 2005. http://hdl.handle.net/10019/1672.
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Urraro, Laurie Lynne. "EROTICIZING THE MARGINS: SEX AND SEXUALITY IN CONTEMPORARY FEMALE-AUTHORED SPANISH DRAMA." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1300405282.
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Clifford, Katrina. "Sisterly Subjects: Brother-sister relationships in female-authored domestic novels, 1750-1820." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10065.
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‘Sisterly Subjects’ argues that female novelists from Eliza Haywood to Jane Austen established a tradition within the female-authored domestic novel that was based on the possibilities presented by the brother-sister relationship, the only cross-gender relationship in the eighteenth century that carried with it expectations of equality. In various ways these novelists use the unusual familial space of the brother-sister relationship to critique the emergent ideology of domesticity, to challenge authority structures, and to experiment with form in a key period of the development of the novel. This thesis examines two main functions of this relationship in eighteenth-century female-authored novels through two arguments about sisterly subjects. First, it deals with the position of women – their subjecthood – in the family and in society. In many novels written by women, a brother’s usurping of authority in this supposedly equal relationship is used to demonstrate women’s right to autonomy and the negative effects of their continued subjection within the family and, particularly after the French Revolution, within society. Second, it traces the establishment of the sister as the subject of the domestic novel. Female-authored novels involving brother-sister relationships not only make obvious the privileging of the sister’s story over the brother’s, they also demonstrate the connection between the subjection of women within the family and the form of the novel. This thesis challenges critical orthodoxies regarding the conservative nature of the domestic novel and the tendency of women novelists to promote a domestic ideal. Instead of promoting women’s subjection, these novelists use the brother-sister relationship to assert women’s autonomy, to question gender inequalities in the family and in society, and to affirm the importance of the female subject and the sister’s story.
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Hurst, Katherine. "Nailing the Chameleon: Problems of Authorial Identity and Representation in the Work of D.H.Lawrence." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.486996.
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Whilst D.H. Lawrence's proclivity for matters of a sexual nature continues to fuel the public imagination, his standing within the academic community is at a nadir. Less frequently remarked upon for his sensitive handling of human relationships than for his alleged dogmatism, misogyny or interest in fascism, he has faded from the forefront of scholarly debate and has come to been ·seen as a marginal player, scarcely worth attention. A revision of his work and literary identity is long overdue. I argue that Lawrence is a writer who constantly shrugs off the damaging stereotypes which have been thrust upon him: he is a chameleon, who is slippery and difficult to pin down. Although he often articulates his ideas in authoritarian fashion, his sense of certainty is invariably undercut by anxieties about the creative process and, specifically, about his own linguistic medium. Some of his strongest writing, this thesis contends, is found at those points where he is most alive to the failings of words. Criticallyacclaimed fiction like The Rainbow and Women in Love point to the imperfect nature of language; yet it is in his less fashionable novels of the twenties where linguistic and hermeneutical concerns are most successfully scrutinized. Meaning, here, is shown to be multiple, conditional upon perspective, and impossible to circumscribe. Lawrence is a figure who never ceases to surprise. His self-images are fragile, his letters projecting a persona which is, at times, devoid of the arrogance for which is often >' criticized; he refuses to take at face value the significance of artistic enterprise, interrogating its status in an increasingly commercial climate; and careful examination of his aesthetics reveals him to be more closely aligned with Bloomsbury ~heorists Clive Bell and Roger Fry than has been previously acknowledged. Even representations of his work on film, which characteristically rehearse the stereotypical notion that he is a sexual obsessive, are capable of betraying the complexities of his interests. His cinematic afterlives, like his novels and the literary persona he himself constructs, are far from univocal. He is not, as frequently assumed, solely concerned with physical intimacy, but with the far-reaching social questions with which troubled early twentieth- century Britain.
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Friedlander, Keith. "Born In a Crowd: Subjecthood Across Authorial Modes In the Nineteenth-Century Writer's Market." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/35054.
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This dissertation examines representations of authorship and subjecthood in the Romantic period as products of market position and publishing mode. In doing so, it views the traditional concept of Romantic individualism commonly associated with the solitary poet as a strategy developed to help the author navigate a complex writer’s market. Rather than focusing upon individualism as the defining authorial model for this period, however, my project presents it as one example of a diverse range of representational strategies employed by different authors operating from different positions within the market. To this end, this study compares the authorial model of the independent poet with authors engaged in a variety of other modes of publishing, including hack essayists, serialized poets, periodical editors, and celebrity authors.
By examining authors operating across different publishing modes, I demonstrate that each one’s concept of public identity is shaped principally by his or her particular market position, as defined by working relationships with peers, involvement in the particulars of publishing, exchanges with the critical press, and engagement with readers. These authors include William Wordsworth, Lord Byron, Letitia Elizabeth Landon, Charles Lamb, and Francis Jeffrey. By juxtaposing their different models of authorship, this study seeks to bridge the longstanding discourse regarding the social isolation of the Romantic poet with more contemporary streams of scholarship into the material realities of the nineteenth-century publishing industry. Drawing upon the social philosophy of the Frankfurt School and Eric Gans’ theory of Generative Anthropology, I examine how different strategies of representation were developed to preserve personal meaning and sustain public attention. By comparing responses to the rise of the writer’s market and the ubiquity of print culture, this dissertation argues that Romantic period authors demonstrate a distinctly modern understanding of public identity as a product of mediation in mass media culture.
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Hiatt, Robert F. "Gothic Romance and Poe's Authorial Intent in "The Fall of the House of Usher"." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/english_theses/135.
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In my thesis I will discuss Edgar Allan Poe’s “The Fall of the House of Usher” in relation to the expectations that scholars have of the gothic genre. I will break this project into four chapters, along with an introduction: (Ch.1) a critical review of scholarship on Poe’s “Usher” that will demonstrate the difficulty in coming to a critical consensus on the tale, (Ch.2) a discussion of Brown’s outline of Gothic conventions, (Ch.3) a look at Poe’s “The Philosophy of Composition” juxtaposed with Aristotle’s Poetics to illumine aspects of Poe’s approach to writing and how it has been informed, and (Ch.4) a close reading of Poe’s “Usher.”
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Sweeney, Anne Rosalind. "Robert Southwell's English lyrics : authorial integrity on the mission to Elizabethan England (1580-1595)." Thesis, Lancaster University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428649.
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Rock, Brian. "Irish nationalism and postcolonial modernity : the 'minor' literature and authorial selves of Brian O'Nolan." Thesis, University of Stirling, 2010. http://hdl.handle.net/1893/2495.
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In the immediate post-independence period, forms of state-sponsored Irish nationalism were pre-occupied with exclusive cultural markers based on the Irish language, mythology and folk traditions. Because of this, a postcolonial examination of how such nationalist forms of identity were fetishised is necessary in order to critique the continuing process of decolonization in Ireland. This dissertation investigates Brian O’Nolan’s engagement with dominant colonial and nationalist literary discourses in his fiction and journalism. Deleuze and Guattari define a ‘minor’ writer’s role as one which deterritorializes major languages in order to negotiate textual spaces which question the assumptions of dominant groups. Considering this concept has been applied to postcolonial studies due to the theorists’ linguistic and political concerns, this dissertation explores the ‘minor’ literary practice of Brian O’Nolan’s authorial personae and writing techniques. Through the employment of Deleuze and Guattari’s concept of the deterritorialization of language alongside Walter Benjamin’s models of the flâneur and translation, and Claude Lévi-Strauss’s concept of bricolage, this thesis examines the complex forms of postcolonial narrative agency and discursive political resistance in O’Nolan’s work. While O’Nolan is often read in biographical terms or within the frameworks of literary modernism and postmodernism, this thesis aims to demonstrate the politically ambivalent nature of his writing through his creation of liminal authorial selves and heterogeneous narrative forms. As a bi-lingual author, O’Nolan is linguistically ‘in-between’ languages and, because of this, he deterritorializes both historical and literary associations of the Irish and English languages to produce parodic and comic versions of national and linguistic identity. His satiric novel An Béal Bocht exposes, through his use of an array of materials, how Irish folk and peasant culture have been fetishized within colonial and nationalist frameworks. In order to avoid such restricting forms of identity, O’Nolan positions his own authorial self within a multitude of pseudonyms which refuse a clear, assimilable subjectivity and political position. Because of this, O’Nolan’s authorial voice in his journalism is read as an allusive flâneur figure. Equally, O’Nolan deterritorializes Irish mythology in At Swim-Two-Birds as a form of palimpsestic translation and rhizomatic re-mapping of a number of literary traditions which reflect the Irish nation while in The Third Policeman O’Nolan deconstructs notions of empirical subjectivity and academic and scientific epistemological knowledge. This results in an infinite form of fantastical writing which exposes the limited codes of Irish national culture and identity without reterritorializing such identities. Because O’Nolan’s ‘minor’ literary challenge is reflective of the on-going crisis of Ireland’s incomplete decolonization, this thesis employs the concept of ‘minor’ literature to read Ireland’s historical past and contemporary modernity through O’Nolan’s multi-voiced and layered narratives.
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Barnett, Ryan. "Resurrecting the Author : Authorial Memories in the Work of Charles Dickens and Wilkie Collins." Thesis, Birmingham City University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508818.
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Ploisawaschai, Suthee. "The development of authorial identity among senior academic scholars on the trajectory of professorship." Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/19812.
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Recent social theories related to academic literacies suggest that academic writing is not a mere text production but also an identity performance; hence, the notion of ‘authorial identity’ which involves two dimensions: the identity as academic authors (personal dimension) and the identity in writing (textual dimension). This thesis presents a study into the development of authorial identity among senior academic scholars on the trajectory of professorship through interviews and textual analysis of their published papers sampled across their early and later career. Three full professors from a UK university participated in this study, which was conducted in three phases. In the first phase, the professor participants’ accounts of their personal dimension of authorial identity through interviews signal common themes regarding the influence of the recent academic climate on their personal experience of growth in relation to their endeavour to improve the quality of their academic scholarship. In the second phase, the metadiscourse-based textual analysis of their sampled academic papers indicates several features of their identity performance in writing over time, which form the basis for the professor participants’ reflection on their textual dimension of authorial identity in the third phase in order to explore how their papers are embedded in and related to the social contexts of academic publication, especially the peer review process and the research assessment framework. The research findings from this study not only shed light on the developmental pathway in academic writing from the same academic scholars over time but also provide an illuminating account of how they have developed themselves as well as their writing on the trajectory of professorship. Further, the findings from all three research phases are discussed together in relation to relevant social theories to offer a theoretical contribution to the research area of academic literacies, writing, identity and scholarship.
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Bhattacharya, Anindya. "Shifting paradigms:politics of authorial represention of the partition of India in novels in English." Thesis, University of North Bengal, 2015. http://ir.nbu.ac.in/handle/123456789/2490.
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McLane, Teryl A. "From the top: Impression management strategies and organizational identity in executive-authored weblogs." Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5433.
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This research examines impression management strategies high-ranking organizational executives employ to create an identity for themselves and their companies via executive authored Weblogs (blogs). This study attempts to identify specific patterns of impression management strategies through a deductive content analysis applying Jones' (1990) taxonomy of self-presentation strategies to this particular type of computer mediated communication. Sampling for this study (n=227) was limited to blogs solely and regularly authored by the highest-ranking leaders of Fortune 500 companies. The study revealed that executive bloggers frequently employed impression management strategies aimed at currying competency attributes (self-promotion), likeability (ingratiation), and moral worthiness (exemplification) to construct and shape a positive identify for themselves and their organization for their publics. Supplication strategies were used less frequently, while intimidation strategies were rarely used.<br>ID: 031001293; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Adviser: Sally O. Hastings.; Title from PDF title page (viewed March 4, 2013).; Thesis (M.A.)--University of Central Florida, 2012.; Includes bibliographical references P. 72-86).<br>M.A.<br>Masters<br>Communication<br>Sciences<br>Communication; Interpersonal Communication
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Woodman, Joanne. "Narrating white English masculinities : male-authored fictions of crisis and reconstruction, 1987-2001." Thesis, Birkbeck (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.424300.
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Santaularia, Capdevila Isabel. "Representations of masculinity in Wilbur Smith's Courtney Saga. Contextual Causes and Strategies of Authorial Control." Doctoral thesis, Universitat de Lleida, 2000. http://hdl.handle.net/10803/8116.
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Balistreri, Caterina. "At play : the construction of adulthood and authorial identity in Russian children's literature (1990-2010)." Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/14225.
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This thesis presents an analysis of texts written for a child audience in Russia between 1990 and 2010 and characterized by humorous inversions of common sense, a tendency for jokes, puns and a cheerful narrative tone. These narrative features are associated with the concepts of playfulness and play. This thesis argues that, by addressing the implied child reader of the post-perestroika period in a playful mode, children’s authors tried to cope with profound social and cultural transformations which challenged their identities as adults and intellectuals. The new individual responsibilities concerning the upbringing and the education of children, on the one hand, and the crisis of written culture and of the intellectual as sources of moral guidance, on the other, occurred at the same time as the general structures of trust were collapsing in Russian society. The thesis argues that playfulness allowed children’s authors to explore their own identity, and even to express their own fears and doubts as providers of upbringing and education. At the same time, playfulness was a way to involve the child of the post-perestroika period in an attempt to re-construct culture, an attempt which required a strong pedagogical agency. Divided between the wish to guide younger generations and the need to re-define their own selves, children’s authors found in playfulness a field where these contradictory drives could be negotiated and their authorial personae could be re-worked. In the so-called post-post-Soviet period, which followed the election of Vladimir Putin as President of Russia, playful children’s literature is still engaged in this exploration of the adult self and of the possibility of providing guidance through literature. This exploration is further challenged by a generational gap separating adults with a Soviet background from children. The first chapter establishes the theoretical grounds and methods which inform the thesis, while chapter two provides a historical overview of the way in which play and playfulness, both as cultural phenomena and as concepts, intertwined with specific conceptualizations of childhood in Russian and Soviet children’s literature until perestroika. The last two chapters are devoted to the analysis of texts, and mostly focus on works by children’s authors Grigorii Oster, Artur Givargizov and Natal’ia Nusinova which appeared in the years 1990–2010.
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Shapins, Jesse Moss. "Mapping the Urban Database Documentary: Authorial Agency in Utopias of Kaleidoscopic Perception and Sensory Estrangement." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:11021.
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This dissertation theorizes the genre of the urban database documentary, a mode of media art practice that uses structural systems to uncover new perspectives on the lived experience of place. While particularly prominent in recent decades, I argue that the genre of the urban database documentary arises at the turn of the 20th century in response to the rise of the metropolis and the widespread adoption of new media technologies such as photography, cinema, and radio. This was a time when the modern city engendered significant disorientation in its inhabitants, dramatically expanding horizontally and vertically. The rampant pace of technological development at this time also spawned feelings of dehumanization and the loss of connection to embodied experience. The urban database documentary emerges as a symptomatic response to the period's new cultural conditions, meeting a collective need to create order from vast quantities of information and re-frame perception of daily experience. The design of structural systems became a creative method for simultaneously addressing these vast new quantities of information, while attending to the particularities of individual experience. For media artists, building a database into the aesthetic design of a work itself offers an avenue for creatively documenting the radical multiplicity of urbanized environments, preserving attention to the sensory experience of details while aspiring to a legible whole. Crucially, I argue that the design of these systems is a vital form of authorial agency. By reading these artists' work in relation to contemporary practice, I aim to make transparent the underlying, non-technical ambitions that fuel this distinctive mode of media art practice.
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Easterling, Douglas. "Authorial Voice and Agency in the Operas of Richard Strauss| A Study of Self-Referentiality." Thesis, University of Cincinnati, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1561131.
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<p>Self-referentiality plays an important, but often overlooked, role in the works of Richard Strauss. The broad category of self-reference includes works of metafiction, which literary critic Patricia Waugh has defined as fiction that “self-consciously and systematically draws attention to its status as an artifact in order to pose questions about the relationship between fiction and reality” and “explores the <i>theory </i> of writing fiction through the <i>practice</i> of writing fiction.”<sup>1</sup> Additionally, Werner Wolf has conceptualized self-reference to include not only “intra-systemic relationship(s),” but also intertextual and intermedial references.<sup>2</sup> The relationships and references included in Wolf’s conception of self-reference allow Strauss, his collaborators, and later interpreters to insert their own voices into operas and, arguably, even give themselves agency in the drama. This thesis examines this voice and agency in order to arrive at a deeper understanding of Strauss’s aesthetics and those of his librettists and later interpreters with particular attention to three operas: <i>Ariadne auf Naxos</i> (the 1912 and 1916 versions), <i>Intermezzo</i> (1924), and <i> Capriccio</i> (1942). Additionally, I examine Christof Loy’s 2011 production of <i>Die Frau ohne Schatten</i> (1919) as an example of complex layers self-reference added to a work by a later interpreter and as a suggestion for future avenues of research regarding operatic self-referentiality. </p><p> <sup>1</sup>Patricia Waugh, <i>Metafiction: The Theory and Practice of Self-Conscious Fiction</i> (London: Methuen & Company, 1984), 2. <sup>2</sup>Werner Wolf, preface to <i>Self-Reference in Literature and Music</i>, ed. Walter Bernhart and Werner Wolf (Amsterdam: Rudopi, 2010), vii.</p>
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Galow, Timothy W. Wagner-Martin Linda. "Writing celebrity modernism, authorial personas, and self-promotion in the early twentieth century United States /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2008. http://dc.lib.unc.edu/u?/etd,2011.
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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2008.<br>Title from electronic title page (viewed Feb. 17, 2009). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature." Discipline: English and Comparative Literature; Department/School: English and Comparative Literative.
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Parv, Valerie. "Healing writes : restoring the authorial self through creative practice : and Birthright, a speculative fiction novel." Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/16646/1/Valerie_Parv_-_Birthright.pdf.
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Writing the speculative fiction novel, Birthright, and this accompanying exegesis, led me to challenge the validity of the disclaimer usually found in the front matter of most novels that the story is purely imaginary, bears no relationship to reality, with the characters not being inspired by anyone known or unknown to the author. For the first time in my career, I began to consider how writers including myself might frequently revisit themes and ideas which resonate with our lived experiences. I call this restorying, an unconscious process whereby aspects of one's life history are rewritten through one's creative work to achieve a more satisfactory result. Through personal contact, studying authors' accounts of their creative practices, and surveying current literature on narrative therapy, a case is made that, far from being generated purely from imagination, writers' creative choices are driven by an unconscious need to restory ourselves.
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Parv, Valerie. "Healing writes : restoring the authorial self through creative practice : and Birthright, a speculative fiction novel." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16646/.
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Writing the speculative fiction novel, Birthright, and this accompanying exegesis, led me to challenge the validity of the disclaimer usually found in the front matter of most novels that the story is purely imaginary, bears no relationship to reality, with the characters not being inspired by anyone known or unknown to the author. For the first time in my career, I began to consider how writers including myself might frequently revisit themes and ideas which resonate with our lived experiences. I call this restorying, an unconscious process whereby aspects of one's life history are rewritten through one's creative work to achieve a more satisfactory result. Through personal contact, studying authors' accounts of their creative practices, and surveying current literature on narrative therapy, a case is made that, far from being generated purely from imagination, writers' creative choices are driven by an unconscious need to restory ourselves.