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1
Davis, Allegra. "Lining Up." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3683/.
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A creative, multi-genre collection that includes three personal essays (non-fiction) and two short stories (fiction). The pieces in this collection primarily focus on the themes of loneliness and waiting. It includes pieces dealing with homosexual relationships, friendships and heterosexual relationships. Collection includes the essays "The Line," "Why We Don't Talk about Christmas," and "Boys Who Kiss Back," and includes the short stories "I Am Allowed to Say Faggot" and "Dear Boy."
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Jowell, Joanne. "On the other side of shame : a non-fiction account." Master's thesis, University of Cape Town, 2007. http://hdl.handle.net/11427/8094.
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Lynette Langman's telephone rang on a Sunday night in 2001, heralding the call that would unravel her life. For forty long years, she had waited to hear news about the son she gave up for adoption when she was virtually a child herself. His birth had remained a closely guarded secret, hidden even from those who knew her best. And now his disclosure would unleash years of bottled questions and confessions.
3
Vlatkovic, Michelle. "Voice in Australian creative non-fiction: The project of my belonging." Thesis, Griffith University, 2018. http://hdl.handle.net/10072/376833.
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The Notebook of Belonging engages with and contributes distinct values in relation to connection, belonging and narrative. Its ‘Voice’ situates an ontological approach originating from familial and cultural traditions. Multifaceted, it speaks to Western intellectual values, Aboriginality and the transformative nature of silence.
Primarily a practise-based creative nonfiction project, the Notebook of Belonging has an embedded exegetical commentary. The exegetical cannot be sliced away at either end without weakening the centre; the centre is not as strong without the exegetical. In this way, there are tensions and there are alignments in how book learnt interacts with oral story. The authority of book knowledge in relation to oral traditions is contested here.
The Notebook of Belonging presents knowledge imparted in oral story-telling whereby belonging and connection exist through a shared understanding of the interconnected nature of life and being. Oral story uses silence, repetition and reflection. The use of silence, repetition and reflection imparts knowledge in a non-linear and circular process. Replicating this non-linear, circular approach, the Notebook of Belonging is composed of a fragmented, discontinuous narrative, moving back and forth through time, recounting events in a non-linear order, where the multidimensional nature of time and story are always in dialogue, as they are in life.
The intention is to show a constellation of belonging both conceptual and tangible; situated between European and Kamilaroi understandings. The idea of creating a constellation using a discontinuous narrative is also informed by Walter Benjamin’s One-Way Street (2016). Benjamin showed how a fragmented text creates subliminal connections between textual passages, complimented by explicit themes, formal echoes and rhymes; all of these may be structured in such a way to convey a constellation of meaning to the reader (Benjamin, 2016, p. 7). Individual fragments work as philosophical miniatures rather than snap shots. Moments from life recounted in the Notebook of Belonging focus on connection not rupture, informed and in response to Roland Barthes’ Camera Lucida (2010) which presents the concept of the studium and the punctum in relation to the photographic image. The studium is the public broad range of meaning associated with the image. The punctum, on the other hand, is the private association the viewer has with the image. It is conjured by the spectator’s own experience. It is unexpected and consequently remembered (Barthes, 2010, p. 26).
Other writers encountered in this research include: Nicholas Rothwell, Ngarta Jinny Bent et al, Kim Scott, Jeanette Winterson, and Helene Cixous. Their works investigate oral story as well as the power of narrative and literature.<br>Thesis (Masters)<br>Master of Arts Research (MARes)<br>School of Hum, Lang & Soc Sc<br>Arts, Education and Law<br>Full Text
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Abbott, Shannon Marie. "My Whine, Your Wine." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc115041/.
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Grapes hold the flavors of the lands where they grow, and when you make wine from them, those flavors of the land come through. Tasting wine from a place you've been can bring you back to that place with aromas and notes indicative of that place. A bottle of wine changes every day, and how it will taste depends on the moment you choose to release it from the glass walls. I have a vested interest in wine, because it is a living thing. I am compelled to make wine because its characteristics are like personality traits. Although some of those characteristics are harsh at times, I appreciate them all. Each trait plays an important role in the balance, the overall personality. Like my own personality flaws, wine's harsh tones can smooth over time. My relationship with wine is constantly evolving, with every new varietal, vintage, batch and blend. Believe me, after some of the jobs I had before my first day at Su Vino, I cherish every moment of my winemaking career. My Whine, Your Wine is the story of how it all started.
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Blair, Molly. "Putting the storytelling back into stories : creative non-fiction in tertiary journalism education." ePublications@bond, 2006. http://epublications.bond.edu.au/theses/blair.
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This work explores the place of creative non-fiction in Australian tertiary journalism education. While creative non-fiction — a genre of writing based on the techniques of the fiction writer — has had a rocky relationship with journalism, this study shows that not only is there a place for the genre in journalism education, but that it is inextricably linked with journalism. The research is based on results from studies using elite interviews and a census of Australian universities with practical journalism curricula. The first stage of this study provides a definition of creative non-fiction based on the literature and a series of elite interviews held with American and Australian creative non-fiction experts. This definition acknowledges creative non-fiction as a genre of writing that tells true stories while utilising fiction writing techniques such as point of view, dialogue and vivid description. The definition also takes into account creative non-fiction’s diverse range of publication styles which include feature articles, memoir, biography, literary journalism and narrative non-fiction. The second stage of the study reports upon elite interviews with Australian writers who have produced works in the genres of journalism and creative non-fiction. These interviews reveal the close relationship journalism and creative non-fiction share across a variety of approaches and techniques. This study also shows how creative non-fiction can improve the careers of journalists and the quality of journalism. The census of journalism programs further reveals the place of creative non-fiction in tertiary journalism education and prompts the formulation of a two tiered model for the genre’s inclusion in the curriculum. The first tier involves including creative non-fiction in a core journalism subject. The second tier is an elective creative non-fiction subject which builds on the skills developed in the core classes. Through the literature, and the responses of the elites and survey respondents, it was possible to show how creative non-fiction helps journalism students to appreciate the history of their profession, explore their talents and finally to be part of what may be the future of print journalism.
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Bill, Meredeth Meyer. "The Pieces I Choose: A Creative Non-Fiction Exploration of Self and Place." Thesis, The University of Arizona, 2014. http://hdl.handle.net/10150/319937.
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Kavalieris, Galvão André. "Representing Truth Through Narrative : The Use of Historiographical Techniques in Creative Non-Fiction." Thesis, Stockholms universitet, Engelska institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-169744.
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This essay is an attempt to show how certain elements, or techniques of history writing, can be used in creative non-fiction. It uses three major sources of theory. First, there is Charlotte Canning and Thomas Postlewait’s view on “the five themes of historiography,” which are indispensable for researching history: time, space, archive, identity, and narrative. The essay primarily focuses on narrative, because it is connected to representations of human lives, and as such contributes to meaning- creation. Second, the essay employs Hayden White’s concept of the historian’s working process and the notions of chronicle, story, mode of emplotment, mode of argument and ideological implications. Third is the method developed by Thomas Andrews and Flannery Burke of the five C’s of historical thinking: change over time, causality, context, complexity and contingency. Although these are separate theories, the essay shows how they can be complementary and help in the development of memoir writing, which is here my creative work, A Family Memoir in Essays, in particular the essays entitled “Trimdiniekis,” “Brasiliana,” and “A Sertaneja”.
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Heldring, Anna Elisabeth. "Balancing child and adult voice in fictional and non-fiction memoir (critical component) ; The ambassador's wife (creative component)." Thesis, Bath Spa University, 2010. http://researchspace.bathspa.ac.uk/1486/.
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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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Wilson, Mardi E. "Everyday Coercion: An Exploration of Young Adults' Negotiations of Heterosexual Sex, Consent, and Normalised Male-Enacted Sexualised Violence." Thesis, Griffith University, 2021. http://hdl.handle.net/10072/408502.
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Sexual coercion has been used to describe tactics ranging from subtle, manipulative pressure to violent physical force, with more scholarly attention on the latter. This thesis shifts the focus to non-physically violent tactics of sexual coercion, normalised in heteronormative interactions by cultural narratives of lust and seduction. It examines ‘everyday’ experiences of hetero sex to identify the role male-enacted sexual coercion plays in sexualised interactions and intimacy. Globalised outcries, predominantly in western contexts, about the extensive reach of male-enacted sexual coercion and its role in rape contextualise this research in a broader social movement (e.g. #MeToo). Twenty young adults (thirteen women, seven men) were engaged in in-depth, qualitative interviews using a semi-structured, conversational approach to obtain empirical knowledge about how participants negotiated sexual activity, enacted or experienced nonphysically violent coercion, and understood consent. An arts-based methodology then transformed participants’ experiential data into creative non-fiction, connecting readers with the emotional dimension in the findings.
Within this research, both men and women demonstrated experiential knowledge of verbal, non-verbal, direct and indirect communication of consent (willingness) and non-consent (unwillingness), consistent with previous scholarship. This research substantiates previous research showing that non-instigating people not only employ refusals within normal conversational patterns, but regularly prestate boundaries, and assertively resist pressure. Coercion is employed despite clear signs of refusal. Thus, men are not the bumbling mis-communicators previous research has suggested; instead they are highly skilled communicators who employ a suite of effective tactics to manipulate and coerce all the while keeping within the bounds of normalised gender roles and sexual scripts. Suggestions that women should ‘just say no’ overlook the fact that men use coercion past the point of refusals. Refusing (whether verbally or non-verbally) is only effective if the instigator accepts it, indicating problematic attitudes and beliefs about gender and sex, rather than communication issues.
In exploring everyday coercion through the lens of consent as free and willing participation, rather than compliance or coerced agreement, this research understands rape as acts that occur past a point of non-consent. While this may sound straightforward in definition, participant responses highlighted that viewing an absence of affirmative consent as rape can be confronting and challenges their understanding of both ‘normal sex’ and ‘real rape’. Rape culture myths and victim-blaming narratives have normalised male-enacted pressure and persistence to a point that rape, particularly when enacted through tactics of everyday coercion, often goes unacknowledged. This research found that men are aware of the tactics they use to coerce women and some shared motives for using everyday coercion, such as homosocial bonding and patriarchal socialisation. While some men drew on essentialised notions of gender to defend their use of coercion, or performed naivety, there was significant corroboration between how women experienced sexual coercion and how men recall enacting it.
The thesis concludes that prevention of normalised sexualised violence must focus on the dismantling of patriarchal and binarised structures of gender, rape culture, and male entitlement alongside education about consent as willingness affirmatively given, free from coercion. This thesis promotes a sexual landscape in which women are understood as equally agentic within sexual exchanges and men, comfortable in their own masculinity and sexuality, are not encouraged to coerce unwanted sexual activity to assert patriarchal manhood. In this landscape people acknowledge and value both verbal and non-verbal refusals, genuinely invite communication about sexual boundaries, women and non-men’s pleasure is focused on in a way that decentralises penetration as the ‘main event’, and unwillingness to have sex is not responded to with coercion.<br>Thesis (PhD Doctorate)<br>Doctor of Philosophy (PhD)<br>School of Hum, Lang & Soc Sc<br>Arts, Education and Law<br>Full Text
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Miley, Linda. "White writing black : issues of authorship and authenticity in non-indigenous representations of Australian Aboriginal fictional characters." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16485/1/Linda_Miley_Thesis.pdf.
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This creative practice-led thesis is in two parts - a novella entitled Leaning into the Light and an exegesis dealing with issues for creative writers who are non-Indigenous engaging with Indigenous characters and inter-cultural relationships. The novella is based on a woman's tale of a cross cultural friendship and is set in a Queensland Cape York Aboriginal community over a period of fifteen years. Leaning into the Light is for the most part set in the late 1960s, and as such tracks some of the social and personal cost of colonisation through its depiction of Indigenous and non-Indigenous relationships within a Christian run mission. In short, Leaning into the Light creates an imaginary space of intercultural relationships that is nevertheless grounded in a particular experience of a 'real' place and time where Indigenous and non-Indigenous subjectivities collide and communicate.
The exegesis is principally concerned with issues of non-Indigenous representation of indigeneity, an area of enquiry and scholarship that is being increasingly theorized and debated in contemporary cultural and literary studies. In this field, two questions raised by Fee (in Ashcroft, Griffiths and Tiffin, 1995) are key concerns in the exegesis. How do we determine who is a member of the Aboriginal minority group, and can majority members speak for this minority? The intensification of interest around these issues follows a period of debate in the 1990s which in turn was spawned by the "unprecedented politicisation of {Australian} history" (Collins and Davis, 2004, p.5) following the important Mabo decision which overturned the "nation's founding doctrine of terra nullius" (ibid, p.2). These debates questioned whether or not non-Aboriginal authors could legitimately include Aboriginal themes and characters in their work (Huggins, 1994; Wheatley, 1994, Griffiths, et al in Tiffin and Lawson, 1994), and covered important political and ethical considerations, at the heart of which were issues of representation and authenticity. Moreover, there were concerns about non-Indigenous authors competing for important symbolic and publishing space with Indigenous authors. In the writing of Leaning into the Light, these issues became pivotal to the representation of character and situation and as such constitute the key points of analysis in the exegesis.
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Miley, Linda. "White writing black : issues of authorship and authenticity in non-indigenous representations of Australian Aboriginal fictional characters." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16485/.
Full textAbstract:
This creative practice-led thesis is in two parts - a novella entitled Leaning into the Light and an exegesis dealing with issues for creative writers who are non-Indigenous engaging with Indigenous characters and inter-cultural relationships. The novella is based on a woman's tale of a cross cultural friendship and is set in a Queensland Cape York Aboriginal community over a period of fifteen years. Leaning into the Light is for the most part set in the late 1960s, and as such tracks some of the social and personal cost of colonisation through its depiction of Indigenous and non-Indigenous relationships within a Christian run mission. In short, Leaning into the Light creates an imaginary space of intercultural relationships that is nevertheless grounded in a particular experience of a 'real' place and time where Indigenous and non-Indigenous subjectivities collide and communicate. The exegesis is principally concerned with issues of non-Indigenous representation of indigeneity, an area of enquiry and scholarship that is being increasingly theorized and debated in contemporary cultural and literary studies. In this field, two questions raised by Fee (in Ashcroft, Griffiths and Tiffin, 1995) are key concerns in the exegesis. How do we determine who is a member of the Aboriginal minority group, and can majority members speak for this minority? The intensification of interest around these issues follows a period of debate in the 1990s which in turn was spawned by the "unprecedented politicisation of {Australian} history" (Collins and Davis, 2004, p.5) following the important Mabo decision which overturned the "nation's founding doctrine of terra nullius" (ibid, p.2). These debates questioned whether or not non-Aboriginal authors could legitimately include Aboriginal themes and characters in their work (Huggins, 1994; Wheatley, 1994, Griffiths, et al in Tiffin and Lawson, 1994), and covered important political and ethical considerations, at the heart of which were issues of representation and authenticity. Moreover, there were concerns about non-Indigenous authors competing for important symbolic and publishing space with Indigenous authors. In the writing of Leaning into the Light, these issues became pivotal to the representation of character and situation and as such constitute the key points of analysis in the exegesis.
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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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Bull, Edward. "POTENTIAL ENERGY." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2192.
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BULL, EDWARD. Potential Energy. (Under the direction of Pat Rushin.) Potential Energy is a collection of sixteen short stories. They range from the fictional to the autofictional to the entirely non-fictional. In all of them, characters both real and imagined struggle to live and define themselves in a world that is outside their control. They cope with the inevitability of loss, dangers both internal and external, and the passing of their own greatness. Some of these characters become lost while others learn to embrace life on its own terms to accept  without hope or expectation. More often, they are not lost or enlightened, but simply survive to continue on, still uncertain. Though all the stories in Potential Energy are stand-alone, they are thematically connected. The themes of family and identity are most prominent in  Potential Energy and  Eulogy to Maria Mamani, Fire-Eater. Loss is confronted and the question of what comes next is asked in  Oysters and  Slide. The conflict between fate and the need for control rises to the surface in  Threshold,  The Elizabeth Years, and the non-fiction story of Charles Whitman s deadly rampage in 1966,  Seed. Themes of ambiguity, moral erosion, and literary exploitation appear in the non-fiction  Bright and Loud and Then Gone, about a landlord burned alive in Chicago in 2008, and  What It Might Have Been Like If We Had Been There, an apologetic for the writer s right to write inspired by the 2007 Al Mutanabbi Street car-bombing in Baghdad, Iraq. Most importantly all the content of Potential Energy tells stories of people trying to hold on to what is good when, tragically, everything must eventually come to an end.<br>M.F.A.<br>Department of English<br>Arts and Humanities<br>Creative Writing MFA
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Day, Samantha L. "Gritting Teeth: A Memoir of Unhealthy Love." TopSCHOLAR®, 2010. http://digitalcommons.wku.edu/theses/230.
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Originally intended to be modeled after Eula Biss’s creative nonfiction essay “The Balloonists”—which tackles the subject of marriage via fragmented prose poems— “Gritting Teeth: A Memoir of Unhealthy Love” is a piece that has taken on a subject and form of its own. A memoirist like Vivian Gornick might not claim the writer’s piece, as it hesitates to offer a “story” in places. A memoirist like Sue William Silverman might not claim the piece, as it hesitates to be courageous at times. But this collage of song lyrics, research snippets, and even Craigslist postings works in conjunction with fragments from the writer’s two most “serious” romantic relationships, as well as fragments from her more recent romantic past, to create a piece that has given her an awareness of the unhealthy relationship behaviors she possesses, and with that, a tinge of hope for changing these behaviors in the future. To the woman who’s ever been obsessive about a boyfriend (or even a fling), the woman who’s married for ulterior motives, or the woman/man interested in peering into the recesses of a neurotic, obsessive, and generally warped female mind, the writer offers this memoir.
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Currie, Susan. "Writing women into the law in Queensland." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16395/1/Susan_Currie_Thesis.pdf.
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Writing Women into the Law in Queensland consists, as well as an exegesis, of profiles of seven significant women in the law in Queensland which have been published in A Woman's Place: 100 years of women lawyers edited by Susan Purdon and Aladin Rahemtula and published by the Supreme Court of Queensland Library in November 2005. Those women are Leneen Forde, Chancellor of Griffith University and former Governor of Queensland; Kate Holmes, Justice of the Supreme Court and now of the Court of Appeal; Leanne Clare, the first female Director of Public Prosecutions; Barbara Newton, the first female Public Defender; Carmel MacDonald, President of the Aboriginal Land Tribunals and the first female law lecturer in Queensland; Fleur Kingham, formerly Deputy President of the land and Resources Tribunal and now Judge of the District Court and Catherine Pirie, the first Magistrate of Torres Strait descent. The accompanying exegesis investigates the development of the creative work out of the tensions between the aims of the work, its political context, the multiple positions of the biographer, and the collaborative and collective nature of the enterprise.
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Currie, Susan. "Writing women into the law in Queensland." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16395/.
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Writing Women into the Law in Queensland consists, as well as an exegesis, of profiles of seven significant women in the law in Queensland which have been published in A Woman's Place: 100 years of women lawyers edited by Susan Purdon and Aladin Rahemtula and published by the Supreme Court of Queensland Library in November 2005. Those women are Leneen Forde, Chancellor of Griffith University and former Governor of Queensland; Kate Holmes, Justice of the Supreme Court and now of the Court of Appeal; Leanne Clare, the first female Director of Public Prosecutions; Barbara Newton, the first female Public Defender; Carmel MacDonald, President of the Aboriginal Land Tribunals and the first female law lecturer in Queensland; Fleur Kingham, formerly Deputy President of the land and Resources Tribunal and now Judge of the District Court and Catherine Pirie, the first Magistrate of Torres Strait descent. The accompanying exegesis investigates the development of the creative work out of the tensions between the aims of the work, its political context, the multiple positions of the biographer, and the collaborative and collective nature of the enterprise.
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Di, Russo Monique R. "Practice-Led Creativity as a Bridge to Unknown Aspects of Self: An Ekphratic Methodology to Enhance Memoir Writing." Thesis, Griffith University, 2022. http://hdl.handle.net/10072/416296.
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The purpose of this paper is to explore a new creative writing methodology for producing creative non-fiction writing with deepened emotional vivacity and opportunity for healing for the practitioner. A Shamanic based meditation practice was engaged to access emotions embedded in sub-consciousness or “anoetic awareness” (Tulving, 2002). The imagery conjured during meditation was then used to create a visual artwork representative of the emotional state being examined. Then, an adapted ekphratic practice, where the visual art and the subsequent writing are authored by the same person, was applied. Throughout the methodology explored here, emotional memories were experienced, or more accurately re-experienced, somatically, emotionally, and intellectually in the present. These experiences were potentially reflected in the writing practice. Furthermore, the writing practice itself also changed perceptions of the original emotional states. The emotional healing and benefits as a creative practitioner were correlated. Rather than producing more dynamic or vivacious writing, as was the original hypothesis however, it is perhaps more accurate to conclude that the emotional state of being and the written expression of that emotion evolved to include new memories, new imagery, and new insights to the benefit of the writing.<br>Thesis (Masters)<br>Master of Arts Research (MARes)<br>School of Hum, Lang & Soc Sc<br>Full Text
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Kärn, Lina. "‘Creative Writing’: An Efficient Supplementary Tool for Teaching English at Swedish High Schools." Thesis, Stockholms universitet, Engelska institutionen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-117674.
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English is, can be, and ought to be taught through various teaching modes for deeper learning to take place successfully. ‘Creative writing’ has shown to be, according to previous research and interviewed high school teachers, a successful tool for teaching English as a foreign language, just as it can help students reach requirements and course goals constituted by the National Agency for Education in Sweden. Furthermore, creative forms of the English language are shown to be largely what motivate high school students the most to learn English, and what interest them about the English language in general. Nevertheless, ‘creative writing’ is rarely practiced when teaching English as a foreign language at Swedish high schools. Together, these findings suggest that ‘creative writing’ should be used more frequently as a tool for teaching English in Sweden. A prerequisite for actualizing the suggestion is education of English teachers in how to teach it properly.
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Brownlee, Lucie Alexandra. "The grey space : notions of loss in writing real lives : critical thesis ; &, The sculptress : a work of creative non-fiction." Thesis, University of Newcastle upon Tyne, 2018. http://hdl.handle.net/10443/4172.
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This thesis in Creative and Critical Writing comprises two parts. The book, The Sculptress, is fictional interpretation of the life and work of the American artist and collector Mary Callery and her daughter, Caroline. It pivots around Callery's fractured relationship with Caroline, suggesting the trajectory which led to the suicide of Caroline at the age of forty. It aims to throw new light on Callery's considerable body of work, which has been overlooked by art history despite receiving critical acclaim. Set against fast-changing backdrop of European and American Modernism, it spans Callery's lifetime, from her birth in 1903 to her death in Paris in 1977. The critical part of this thesis proposes that 'loss' is a central feature of writing creative non-fiction, and explores this with reference to the work of Naomi Wood and Julia Blackburn along with my own. Notions of loss emerged as the driving force behind my entire project: my own personal loss, loss of direction, loss of emotional, historical and factual truths. The ways in which Callery dealt with the 'grey spaces' in her own existence - that is to say, the distance between the two social poles she inhabited (avant-garde bohemia and old money, society New York), plus the grief she was unable to express about her daughter's death - became the governing theme of the book.
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Earley, Deja Anne. "Keeping Gardens: Poetry and Essay." Diss., CLICK HERE for online access, 2005. http://contentdm.lib.byu.edu/ETD/image/etd943.doc.
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Klaebe, Helen Grace. "Sharing stories : problems and potentials of oral history and digital storytelling and the writer/producer's role in constructing a public place." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16364/1/Helen_Klaebe_Thesis.pdf.
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The Kelvin Grove Urban Village (KGUV) is a 16-hectare urban renewal redevelopment project of the Queensland Department of Housing and the
Queensland University of Technology (QUT). Over the last century, the land has housed military and educational institutions that have shaped Brisbane and Queensland. These groups each have their own history. Collectively their stories represented an opportunity to build a multi-art form public history project, consisting of a creative non-fiction historical manuscript and a collection of digital stories (employing oral history and digital storytelling techniques in particular) to construct a personal sense of place, identity and history. This exegesis examines the processes used and difficulties faced by the writer/producer of the public history; including consideration of the artistic selection involved, and consequent assembly of the material. The research findings clearly show that: giving contributors access to the technology required to produce their own digital stories in a public history does not automatically equate to total participatory inclusion; the writer/producer can work with the public as an active, collaborative team to produce shared historically significant works for the public they represent; and the role of the public historian is that of a valuable broker--in actively seeking to maximize inclusiveness of vulnerable members of the community and by producing a selection of multi-art form works with the public that includes new media.
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Klaebe, Helen Grace. "Sharing stories : problems and potentials of oral history and digital storytelling and the writer/producer's role in constructing a public place." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16364/.
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The Kelvin Grove Urban Village (KGUV) is a 16-hectare urban renewal redevelopment project of the Queensland Department of Housing and the
Queensland University of Technology (QUT). Over the last century, the land has housed military and educational institutions that have shaped Brisbane and Queensland. These groups each have their own history. Collectively their stories represented an opportunity to build a multi-art form public history project, consisting of a creative non-fiction historical manuscript and a collection of digital stories (employing oral history and digital storytelling techniques in particular) to construct a personal sense of place, identity and history. This exegesis examines the processes used and difficulties faced by the writer/producer of the public history; including consideration of the artistic selection involved, and consequent assembly of the material. The research findings clearly show that: giving contributors access to the technology required to produce their own digital stories in a public history does not automatically equate to total participatory inclusion; the writer/producer can work with the public as an active, collaborative team to produce shared historically significant works for the public they represent; and the role of the public historian is that of a valuable broker--in actively seeking to maximize inclusiveness of vulnerable members of the community and by producing a selection of multi-art form works with the public that includes new media.
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Gordon, Kaiya M. "Polaroid." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587499846173932.
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Dotson, Holly. "A Bruised Sky Falling." ScholarWorks@UNO, 2009. http://scholarworks.uno.edu/td/1005.
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The following thesis is a memoir in essays. The narrative is a reflection of memory as a chaotic system. Each essay stands alone as a single memory but also is part of the larger story of the writer's life. The fragmentation of the story lends itself to what Roland Barthes called a readerly text. That is, a reader may enter the text at any point and read the chapters in an order, and by doing this, the reader creates his/her own version of the author's life. The overall narrative arch is one of self-discovery and self-destruction.
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Levin, Emily P. Levin. "Gratefully Acknowledged." University of Akron / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=akron152190240698231.
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Carroll, Richard J. "Re-presenting the past : authenticity and the historical novel." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/68033/1/Richard_Carroll_Thesis.pdf.
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This project involved writing Turrwan (great man), a novel set in Queensland in the nineteenth century, and an investigation into the way historical novels portray the past. Turrwan tells the story of Tom Petrie, who was six when he arrived with his family at the notorious Moreton Bay Penal Colony in 1837. The thesis examines historical fiction as a genre with particular focus on notions of historical authenticity. It analyses the complexities involved in a non-Indigenous person writing about the Australian Aboriginal people, and reflects on the process of researching, planning and writing a historical novel.
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Brien, Donna L. "The case of Mary Dean: Sex, poisoning and gender relations in Australia." Thesis, Queensland University of Technology, 2003. https://eprints.qut.edu.au/117977/1/T%20%28CI%29%2094%20-%20THE%20CASE%20OF%20MARY%20DEAN.pdf.
Full textAbstract:
The genre of biography is, by nature, imprecise and limited. Real lives are lived synchronously and diversely; they do not divide spontaneously into chapters, subjects or themes. All biographers construct stories, in the process forcing the disordered complexity of an actual life into a neat literary form. This doctoral submission comprises a book length creative work, Poisoned: The Trials of Mary Dean, and a reflective written component on that creative work, Writing Fictionalised Biography.
Poisoned is a biography of Mary Dean, who, although repeatedly poisoned by her husband at the end of the nineteenth century, did not die. This biography, presented in the form of a first-person memoir, is based closely on historical evidence and is supported with discursive notes and a select bibliography.
The reflective written component, Writing Fictionalised Biography, outlines the process and challenges of writing a biography when the source material available is inadequate and unreliable. In writing Poisoned my genre solution has been fictionalised biography biography which is historically diligent while utilising fictional writing strategies and incorporating fictional passages. This written component reflectively discusses how I arrived at that solution. It includes discussion of the sources I utilised in writing Poisoned, including the limitations of trial transcripts and other court records as biographical evidence; useful precursors to the form; the process wherein I located both a form for my fictionalised biography and a voice for my biographical subject; possible models I considered; how I distinguished established fact from speculative supposition in the text; as well as some of the ambivalences and ethical concerns such a narrative process implies.
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Brien, Donna Lee. "The case of Mary Dean : sex, poisoning and gender relations in Australia." Queensland University of Technology, 2003. http://eprints.qut.edu.au/16340/.
Full textAbstract:
The genre of biography is, by nature, imprecise and limited. Real lives are lived synchronously and diversely; they do not divide spontaneously into chapters, subjects or themes. All biographers construct stories, in the process forcing the disordered complexity of an actual life into a neat literary form. This doctoral submission comprises a book length creative work, Poisoned: The Trials of Mary Dean, and a reflective written component on that creative work, Writing Fictionalised Biography. Poisoned is a biography of Mary Dean, who, although repeatedly poisoned by her husband at the end of the nineteenth century, did not die. This biography, presented in the form of a first-person memoir, is based closely on historical evidence and is supported with discursive notes and a select bibliography. The reflective written component, Writing Fictionalised Biography, outlines the process and challenges of writing a biography when the source material available is inadequate and unreliable. In writing Poisoned my genre solution has been fictionalised biography - biography which is historically diligent while utilising fictional writing strategies and incorporating fictional passages. This written component reflectively discusses how I arrived at that solution. It includes discussion of the sources I utilised in writing Poisoned, including the limitations of trial transcripts and other court records as biographical evidence; useful precursors to the form; the process wherein I located both a form for my fictionalised biography and a voice for my biographical subject; possible models I considered; how I distinguished established fact from speculative supposition in the text; as well as some of the ambivalences and ethical concerns such a narrative process implies.
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Kurtz, Matthew B. "What Comes After the Blues." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1619717430532435.
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Forkapa, Dan. "The Other Side of Fun." Cleveland State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=csu1513106622529833.
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Crosier, Erik R. "Character development through non-linear story format : its creation, use, and applications." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1390655.
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The purpose of this creative project is to explore the concept of character development as it appears in non-linear story formats. These formats are those of relatively recent technological advances that have paved the way for stories to be related to an audience in ways that are completely unique to each individual audience member. This project specifically is a murder mystery story, told in such a non-linear fashion. The story is capable of being viewed in a completely unique manner by each individual audience member. From this story, viewer's opinions have been examined, and conclusions have been drawn of the value and significance of non-linear story formats in relation to character development.<br>Department of Telecommunications
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Adams, Timothy Lee. "Discourse and Conflict: The President Barack H. Obama Birth Certificate Controversy and the New Media." TopSCHOLAR®, 2011. http://digitalcommons.wku.edu/theses/1071.
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A creative exploration of the consequences of public speech in the era of freely accessible, social media, as the author, a former elections official, records and explores the consequences of public dissent in the case of President Barack Obama’s eligibility controversy. This non-fiction narrative culminates with the author’s analysis and observations on both his personal experiences and the state of public speech and political power in contemporary America.
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Gillespie, Carlton W. "Documenting the experience creating a non-fiction film as a resource for siblings and parents of autistic children /." Click here to view, 2010. http://digitalcommons.calpoly.edu/psycdsp/3/.
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Thesis (B.S.)--California Polytechnic State University, 2010.<br>Project advisor: Laura Freberg. Title from PDF title page; viewed on Mar. 24, 2010. Includes bibliographical references. Also available on microfiche.
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King, John Paul. "The Sad Kitchen and Song of Neon: Two Novellas." TopSCHOLAR®, 2019. https://digitalcommons.wku.edu/theses/3149.
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The Sad Kitchen, a work of magical realism, tells the story of a saintly woman named Helen. She opens an underground kitchen where people who feel guilty can come to be comforted and nurtured in the middle of the night. The story is, at its heart, a reflection on forgiveness. Song of Neon, also of the magical realist genre, is an existential work about a nurse named Avery and her husband, an owl house maker, named Saul. Their town, Milliard, is under a trance. Avery and Saul struggle with their respective identities in the quiet, vacuum the town has become.
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Przewloka, Christopher. "Southern Land, Hardened Heart: the possibility of Australian Neon Noir." Thesis, Queensland University of Technology, 2016. https://eprints.qut.edu.au/101077/1/Christopher_Przewloka_Thesis.pdf.
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This creative-based project discussed the potential of neon noir writing in Australia—a hardened style of crime fiction that investigates the dark underbelly of society. The craft-based research outlined how such fiction could be localised to examine our distinct history, culture, and politics. The associated creative work, a neon noir novel set in regional Queensland during the height of governmental corruption, was created in direct response to the discoveries of this research.
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鄺雯怡. "格非復歸傳統的理論建構與文學實踐研究 :以"江南三部曲"為例 =;"Return to the tradition" of Ge Fei : his theoretical exploration and creation practice : a case from Jiang Nan Trilogy". Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3954182.
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Parnell, Jo. "Creative empathy: how writers turn experience not their own into literary non-fiction." Thesis, 2013. http://hdl.handle.net/1959.13/1039417.
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Research Doctorate - Doctor of Philosophy (PhD)<br>The creative component to this thesis is a form of life writing which straddles both memoir and literary documentary. The writer-researcher interviews the subject for her or his unusual life-experience, and audio-tapes the discussion as resource material for a creative nonfiction docu-memoir. In a work of this type, the memoir is primarily not that of the writer, but that of the subject. The documentary component can take the form of photographs, and also factual elements which the subject mentions in relation to their experience, and which gives a documentary-type effect to their narrative. My docu-memoir records the stories of seven subjects, five of whom are Forgotten Australians, of whom I am one. These people are of mainly Anglo-Celtic heritage, and were in care as children in Australia in the mid-part of the twentieth century. Two of the subjects are not Forgotten Australians, but one tells what it is like to be the long-lost sibling of a Forgotten Australian, and the other tells what it was like to have been a child in an orphanage in England so that, in my work, I can show that Australian orphanages were not greatly different to those in England, and the experience of being an incarcerated child was much the same regardless of geographical distance. The inclusion of all these people’s stories is intended to give a concise picture of the experience of being a Forgotten Australian: what it is like to be a “forgotten” and abused child, what it means as an adult to be a care-leaver, how their experiences have affected their lives and those of others around them, and how the experience and the effects of that are much the same no matter whether they were in care as children in England or in Australia. This is a story which has not been previously told from inside the group, in a literary work. In the exegesis, I study what docu-memoir is, and how to write a creative nonfiction work and tailor it to my topic. As models for my own docu-memoir I chose the works of Tony Parker, and especially *Lighthouse*, Sheila Stewart’s three docu-memoirs, *Country Kate*, *Lifting the Latch: A Life on the Land*, and *Ramlin Rose: The Boatwoman’s Story*, and Helen Garner’s *Joe Cinque’s Consolation*. From Parker and Stewart I learnt how to structure a docu-memoir of the type in which I am most interested, and various techniques that I could use when recreating the memories of others: such as, how to make the subjects in the work appear as real people, how to dwell on the metaphorical and philosophical in the words of people, and use the transcript material in a way that lets the subjects talk for themselves. From Garner I learnt how one might include oneself in the work as a point of reference for added credibility, and ways in which to enhance my work of nonfiction with creative elements like braiding the narratives with stories suggested by the subject matter, but which take the reader outside the interview situation, and use rhetoric to draw the reader into the literary landscape. From these writers I also learnt ways in which to maintain a code of ethics for a nonfiction writer when crafting a creative work of docu-memoir.
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Alexander, Wendy. "Split River novella & essays: South Asia in peri-federation Australia (1890–1915)." Thesis, 2016. http://hdl.handle.net/1959.13/1316825.
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Research Doctorate - Doctor of Philosophy (PhD)<br>A divided response—between acceptance and rejection—currently exists among the Australian population toward people arriving in Australia from South Asia, particularly those seeking asylum. This rift has an analogue in the settler response to cameleers and other workers who arrived in Australia from across the Indian Ocean in the peri-Federation years (1890–1915). This research therefore examines the peri-Federation diaspora of South Asia to Australia to address the apparent persistence of a dissension for a period of more than one hundred years. I work across two genres—a fictional novella and a non-fiction essay series—motivated by how the respective mechanisms and conventions of these two genres might differently illuminate this issue. The writing in both genres develops an immersive praxis informed by Nancy Tuana’s interactionist ontology, which pays attention to non-human agency in analysing human-to-human dissension. Concurrently, the work also seeks to acknowledge the layered entanglement of ontologies that comprise contemporary Australia, by connecting this research topic to the process of colonisation, including the overwriting of Indigenous knowledge systems, and attempting, to some extent, a decolonisation. Taking this two-genre, expansive approach has debunked the formulation of a polarised acceptance/rejection phenomenon, and gives voice to multiple unexpected events, objects and observations that fall outside this paradigm. Ultimately, the thesis is a demonstration of method – an immersive writing praxis – that engages with two writing genres, and responds to the materiality of the research topic and environments to create a shifting prism that challenges preconceptions and negates a totalising conclusion.
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Kingsley, Jennifer. "Something like wilderness: a journey into the heart of the tundra." Thesis, 2010. http://hdl.handle.net/1828/3408.
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Something Like Wilderness: A Journey into the Heart of the Tundra is a work of
creative non-fiction that chronicles Jennifer Kingsley’s 54-day canoe expedition down
Nunavut’s Back River in the summer of 2005. This manuscript explores the themes of
wilderness and belonging, and it investigates the notion of intersecting journeys.
Something Like Wilderness seeks to engage readers with a compelling story while
articulating some of the ideas we have about wild places.<br>Graduate<br>10000-01-01
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"“Do I really want to do this now?” Negotiations of Sexual Identity and Professional Identity: An Intergenerational Collaboration with Six Gay and Lesbian K-12 Music Educators." Doctoral diss., 2018. http://hdl.handle.net/2286/R.I.51622.
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abstract: LGBTQ research in music education has become more available and accepted in the past ten years. LGBTQ studies in music education have focused on how gay and lesbian music educators negotiate their identities, the role of music education in the lives of transgender students, and the inclusion of LGBTQ issues in music teacher education programs. Studies have been limited to a singular content experience, such as gay vocal music educators or lesbian band directors. Additionally, studies have not explored multiple generations of LGBTQ music educators. The purpose of this study was to explore the lives as lived of six K-12 music teachers. Six individuals, from various career points, various generations, and various career paths shared their stories with me. To guide my analysis, I considered the following questions:
• How do lesbian and gay music educators describe their sexual identity and professional identity?
• How do gay and lesbian music educators negotiate the tensions between these identities?
• What internal and external factors influence these negotiations?
• What are the similarities and differences among the participants of different generations?
Two large emerged from the analysis that provided a better understanding of the participants’ lives: finding sexual identity and finding professional identity. Within those themes, smaller sub-themes helped to better understand how the participants came to understand their sexuality and professional identity. External factors such as social and family support, religion, and cultural and generational movements influenced the ways in which the participants came to understand their sexual identity. Participants desired to be seen first as a competent music teacher, but also understood that they could have an impact on a student as a gay or lesbian role model or mentor. Sexual identity and professional identity did not function as separate constructs; rather they were interwoven throughout these lesbian and gay music educator’s self-identities.
In order to connect the reader with the participants, I engaged in a creative non-fiction writing process to (re)tell participant’s stories. Each story is unique and crafted in a way that the participant’s voice is privileged over my own. The stories come from the conversations and journal entries that the participants shared with me. The purpose of the stories is to provide the reader with a contextual understanding of each participant’s life, and to offer some considerations for ways in which we can engage with and support our lesbian and gay music educator colleagues.
This paper does not end with a tidy conclusion, but rather more questions and provocations that will continue the conversations. I hope this document will encourage thoughtful and critical conversations in the music education profession to help us move us forward to a place that is more empathetic, socially-just, and equitable.<br>Dissertation/Thesis<br>Doctoral Dissertation Music Education 2018
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Devereux, Linda Margaret. "Narrating a congo missionary childhood (1958 - 1964) : memory and meaning examined through a creative non-fiction text and exegesis." Phd thesis, 2015. http://hdl.handle.net/1885/149806.
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This study analyses the transnational childhood experience of the daughter of medical missionaries who worked for the Baptist Missionary Society (BMS) in the Democratic Republic of Congo (DRC) between 1958 and 1964. Through a creative non-fiction text and exegesis, the thesis examines family history and missionary trauma within a context of rapid social change punctuated by postcolonial violence and international Cold War meddling in Africa. In particular, the thesis analyses the hegemonic silencing forces that worked against the sharing of this narrative. These include: the complex but largely unknown history of the DRC; the marginalisation of missionary experience in a postcolonial, post-Christian world; the gendered and institutionalised silencing reinforced by Christian organisations; postcolonial guilt; and, the ethical complexities of writing about self and family from a contested subject position. The academic scholarship on the impact of parents' transnational missionary work on their children is limited. In particular, the effect of exposure to trauma on missionaries and their children is under researched. Furthermore, much of the available scholarship is located in missionary or church-based publications, which limits access to it and debate by a wider academic audience. Some of the frameworks used to describe the experiences of missionaries' children - such as the categories of chameleon, wallflower and screamer - need further analysis. These widely used descriptors may also contribute to silencing some narratives and masking signs of trauma. Drawing on scholarship from a variety of fields including memory studies, history, and life writing, the thesis considers the personal and public roles of memory objects. For some, the act of creating a memory object such as a text can be a powerful experience of silence breaking and healing. Moreover, moving such a memory object from the personal sphere to a shared - community or public - space can, through the process of bearing witness, function as a therapeutic intervention. This was not the purpose of the study, but rather an unexpected by-product of undertaking a thesis of this nature. However, writing a creative non-fiction text alone was insufficient to uncover the hegemonic forces that combined to silence this narrative. The search for understanding was enhanced through critical self-reflection facilitated by engagement with scholarly academic literature in a range of relevant fields; analysis of archival material; and, through interviewing key individuals connected with events described in the narrative. This resulting work addresses the gaps and impasse that inhere in current understandings of the history of missionary life in the Democratic Republic of Congo.
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"In Dust We Trust: A Narrative Journey into the Communal Heart of Public Art at the Burning Man Festival." Doctoral diss., 2010. http://hdl.handle.net/2286/R.I.8785.
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abstract: The Burning Man Festival, a free-spirited yet highly sophisticated social experiment celebrating "radical self expression and radical self reliance" is well-known for its large-scale and highly interactive public art installations. For twenty-five years, Burners (as festival participants are called) have been creating and displaying amazing works of art for the annual event, which currently takes place in Nevada's Black Rock Desert. In the desert, Burners build a temporary city, appropriate the open space to serve as their "tabula rasa" or "blank canvas," and unleash their creative potential in the name of "active participation" and social civility. In the process, they produce public art on a scale unprecedented in United States history. This dissertation, a visual and narrative ethnography, explores the layers of aesthetic and social meanings Burners associate with public art. Told in narrative form, this project utilizes "in situ" field notes, photographic field notes, rhetorical analyses of art installations, thematic analysis of Burner storytelling, and writing as a method of inquiry as means for investigating and understanding more fully the ways Burners create, display, and consume public art. Findings for this project indicate Burners value public art beyond its material presentation. Preparing for, building, celebrating, and experiencing aesthetic transformation through the engagement of public art all are viewed as valuable"art" experiences at Burning Man. Working in tandem, these experiences also produce profound feelings of connection and collaboration in the community, suggesting Burning Man's methods for producing public art could serve as model to follow, or points for reflection, for other groups wishing to use public art and other forms of material expression to bring their members closer together.<br>Dissertation/Thesis<br>Ph.D. Communication 2010
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(9803684), Michael Hewson. "Anecdotes of the Anthropocene: An anthology." Thesis, 2020. https://figshare.com/articles/thesis/Anecdotes_of_the_Anthropocene_An_anthology/17082722.
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These Anecdotes of the Anthropocene are curated into an anthology. Top and tailed, these twelve pieces of earthy writing reframes a long history of environmental consciousness. The creative artefact challenges readers to consider environmental activism as nothing new – and that a need for educative sign erecting endures.
An anthology is a useful way to bring a suite of ‘short’ poems and prose pieces together to encapsulate a cohesive whole – a forest of individual trees. Each vignette is crafted to the norms of a literary sub-genre, but so collected, create a coherent environmental narrative. The goal of the anthology is to proffer an environmental concern via strategic storytelling. Here, the aim of strategic storytelling is to contribute to changing public ecological opinion. Thus the output seeks to motivate an illusionary and unmeasured outcome.
The introduction explains the Anthropocene and sets the scene. The twelve following creative non-fiction pieces are then shuffled as: narrative journalism; Op-Ed; ecocriticism; narrative poems (a sonnet, an amphimacer and an ode); speculative non-fiction; concrete-prose; rhetoric and a memoir. The images that begin each vignette signals the theme of the piece visually. Finally, an end-piece wraps up the collection.
The anthology is a work of Literary Geography. The word geography originates from the Greek geographia; further comprised of the Latin for Earth (gēo-) and writing (-graphia) – thus writing the world. An accompanying exegesis extends the literary component of the dissertation with a critical analysis of the creative artefact.
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(9843737), Irene Waters. "More me: How can a memoirist create a vibrant sequel memoir?" Thesis, 2017. https://figshare.com/articles/thesis/More_me_How_can_a_memoirist_create_a_vibrant_sequel_memoir_/13444784.
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Memoir, the writing of a portion of one or another’s life, is becoming an increasingly popular genre of writing with readers. Writing a sequel to a memoir is relatively uncommon and little research has been carried out on the writing of a sequel or prequel to a first narrative. This thesis consists of a book-length creative artefact, a sequel memoir titled ‘After the Nightmare’, and a reflective exegesis ‘Creating a Compelling Sequel Memoir.’
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Horáková, Jarmila. "Tvůrčí dráha Petra Popesca v kontextu rumunské poválečné literatury." Doctoral thesis, 2014. http://www.nusl.cz/ntk/nusl-334577.
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During the communist era in Romania the literature and its authors had been under pressure of normative demands, which substantially restricted freedom of writing. The authors tried to escape the official socialist realism and restore the esthetic function of literature. In the introduction chapter of this work this evolution is described. One of the authors trying to restore the esthetic function of Romanian prose in the 60s was Petru Popescu inspired by the urban background and American literature. His novels express the emotions of the Romanian post-war young generation. Although being successful in his homeland he emmigrated to the USA in 1974, where he made a career as an English writing scenarist and novelist. Other chapters of this thesis describe his work from his poetic debut until his latest work. They reflect the changes in his choices of topics and narrative methods applying the F. K. Stanzel's literary theory. One of the chapters deals with general questions related to exile, writer's identity, selection of the languages and adaptation strategies. Key words: monograph, post-war literature, exile literature, communist regime, July Thesis, Ceaușescu's regime, bilingualism, popular fiction, narrator's role, fiction and non-fiction, adaptation, identity, creative nonfiction
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Isabella, Jude. "Salmon: A Scientific Memoir." Thesis, 2013. http://hdl.handle.net/1828/4854.
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The reason for this story was to investigate a narrative that is important to the identity of North America’s Pacific Northwest Coast – a narrative that revolves around wild salmon, a narrative that always seemed too simple to me, a narrative that gives salmon a mythical status, and yet what does the average person know about this fish other than it floods grocery stores in fall and tastes good. How do we know this fish that supposedly defines the natural world of this place?
I began my research as a science writer, inspired by John Steinbeck’s The Log from the Sea of Cortez, in which he writes that the best way to achieve reality is by combining narrative with scientific data. So I went looking for a different story from the one most people read about in popular media, a story that’s overwhelmingly about conflict: I searched for a narrative that combines the science of what we know about salmon and a story of the scientists who study the fish, either directly or indirectly. I tried to follow Steinbeck’s example and include the narrative journeys we take in understanding the world around us, the journeys that rarely make it into scientific journals.
I went on about eight field trips with biology, ecology, and archaeology lab teams from the University of British Columbia and Simon Fraser University in Vancouver, with the Department of Fisheries and Oceans onboard the Canadian Coast Guard Ship the W.E. Ricker, and an archaeological crew from the Laich-Kwil-Tach Treaty Society in Campbell River, B.C.
At the same time, I was reading a number of things, including a 1938 dissertation by anthropologist Homer Barnett from the University of Oregon titled The Nature and Function of the Potlatch, a 2011 book by economist Ronald Trosper at the University of Arizona, Resilience, Reciprocity and Ecological Economics, and works by psychologist Douglas Medin at Northwestern University and anthropologist Scott Atran at the University of Michigan, written over the past two decades, particular paying attention to their writings on taxonomy and folkbiology.
My conclusions surprised me, a little.<br>Graduate<br>0329<br>0324<br>0391
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Wakeling, Louise Katherine. "Theorising creative processes in the writing of the neo-historical fiction ' Watermarks ' /." 1998. http://www.library.unsw.edu.au/~thesis/adt-NUN/public/adt-NUN2000.0012/index.html.
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Ku, Chuan, and 顧荃. "Creating a 3D Fantasy Island—Non-Fiction Film of 3D Animation TV Series in Taiwan." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/90075068530026696997.
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碩士<br>國立臺灣大學<br>新聞研究所<br>97<br>The report used the form of Non-Fiction Film to document Taiwan''s original 3D animation from the animation industry''s point of view, including the "Genghis Khan" of APPLY Entertainment, "Tears of Sun" of JAMAR IDEA, "SAMIYAM" of Eastern Television, and "MUMU HUG" of SOFA Studio.
Hoping the report can record not only the history of Taiwan''s original 3D animation TV series’ , and at the same time, make preliminary study of the original 3D animation series’ development, market potential, and possible limitations in Taiwan.
The report discovered that by using the form of 3D animation series to create a brand, Taiwan''s animation industry has to face financial risks, marketing challenges and shortage of talented script writers. But 3D animation in the form of animated series and animated performance is still has its advantages.
Focusing on 3D animation series rather than feature length production, Taiwan may avoid having to compete with main countries of animation production directly, such as the United States and Japan, due to market segments, At the same time, traditional 2D animation series are still potential competitors . The 3D animation TV series may be feasible, but the process remains challenging. There is still a long way to go for Taiwan''s original animation.