Dissertations / Theses: 'Storytelling in fiction'

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Somerville, J. Christine. "Stories and storytelling in Alice Munro’s fiction." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25523.

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References to stories and storytelling appear throughout Alice Munro's five short story cycles: DANCE OF THE HAPPY SHADES, LIVES OF GIRLS AND WOMEN, SOMETHING I'VE BEEN MEANING TO TELL YOU, WHO DO YOU THINK YOU ARE? and THE. MOONS OF JUPITER. This thesis contends that stories--mentioned briefly or recounted at length--provide counterpoint to experience for Munro's characters. Oral and written stories influence them throughout life, but especially in youth, when they eagerly identify with, and imitate, fictional figures. In LIVES and WHO, storytelling becomes central because their protagonists are a writer and an actress. Occasionally, the narrators in all five works reflect on the difficulty of expressing truth in fiction, but SOMETHING raises this issue repeatedly. By embedding stories within her narratives, Munro imitates the workings of memory; moreover, she draws attention to her narratives as texts rather than glimpses of reality. A feminine perspective on narrative gradually emerges, in which the woman narrator sees her task not as imposing order, but as discovering order that already exists. Arts, Faculty of English, Department of Graduate

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Francis, James. "Short fiction creative writing: storytelling with a film perspective." Texas A&M University, 2005. http://hdl.handle.net/1969.1/2427.

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The research and material contained in this thesis will examine short story theory from current perspectives in the field and provide a response to questions posed about the composition of short fiction. A critical introduction will take into account these theories and lead into a collection of five short stories written from a filmmaking perspective. The collection of work provided represents an attempt to break stereotype in the construction and formatting of what is considered standard short story material. Focus for the collection concerns sensory perception, elements of film (flashback sequencing and extended exposition) and gender/race identity. Through the critical introduction and short story collection, the completed thesis will prove that the study and practice of creative writing cannot be regulated by a set of technical guidelines.

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McCoy, Jim. "Storytelling and Death: The Value of Fiction in Philosophy." Thesis, Boston College, 2021. http://hdl.handle.net/2345/bc-ir:109166.

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Thesis advisor: Richard Kearney This thesis is an investigation of the epistemological and ethical reasons why philosophers might consider writing stories to communicate their ideas rather than nonfiction. It considers the consequences of empathizing with fictional characters, as well as the ways in which stories better capture reality than essays. The thesis also looks at the therapeutic power of storytelling. Does fiction offer deeper insights about death that cannot be taught through argumentative essays? Is the form of storytelling better at talking about death? These are the questions that ultimately sparked this thesis Thesis (BA) — Boston College, 2021 Submitted to: Boston College. College of Arts and Sciences Discipline: Departmental Honors Discipline: Philosophy

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Logotheti, Anastasia. "From storytelling to historia : the fiction of Graham Swift." Thesis, Goldsmiths College (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.398417.

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Ashe, Bertram Duane. "From within the frame: Storytelling in African-American fiction." W&M ScholarWorks, 1998. https://scholarworks.wm.edu/etd/1539623921.

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The purpose of this study is to explore the written representation of African-American spoken-voice storytelling in five fictional narratives published between the late nineteenth century and the late twentieth century: Charles W. Chesnutt's "Hot-Foot Hannibal," Zora Neale Hurston's their Eyes Were Watching God, Ralph Ellison's Invisible Man, Toni Cade Bambara's "My Man Bovanne," and John Edgar Wideman's "Doc's Story.".;Using Walter Ong's suggestion that the relationship between storyteller and inside-the-text listener mirrors the hoped-for relationship between writer and readership, this study examines the way these writers grappled with these factors as they generated their texts.;By paying attention to the teller/listener-writer/readership relationship, this study examines the process whereby the narrative "frame" that historically "contained" and "mediated" the black spoken voice (either through a listener/narrator or a third-person narrator) modulated and developed throughout the century, as the frame opens and closes.;The results of this study suggest that what Robert Stepto calls the African-American "discourse of distrust" was a factor from the earliest fictions and is still very much a factor today.

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Hartley-Smith, Rachel L. "Cella : a journal for creative storytelling through digital mediums." Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1379434.

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To complete my final creative project in seeking a Master of Arts degree in Telecommunication: Digital Storytelling through Ball State University, I have created a "pilot" online journal in Macrojnedia Flash 8 for the display of various methods of creative storytelling through the digital medium (currently located at http://rlhartleysmi.iweb.bsu.edu/cella.swf). Here, 1 review the concepts employed as well as my intentions in creating such a journal. I detail the interior workings of the journal and the categories of digital work represented. I outline requirements for future submissions and financial needs for initial creations and upkeep should the journal develop into a public enterprise. In this overview, I explain the rationale in exploring the creative arts through digital mediums and the importance of such concepts as collaboration and visual aesthetics when communicating through digital mediums.In preparation of this project, I performed an intense study of similar online journals in existence, their designs and usability as well as their subject matter. I also made use of social networking sites through which I created groups for the purpose of gathering and sharing additional research in the realms of digital poetry and publishing creative writing online. Also, I read scholarly research regarding computers as creative outlets, online publishing, and the aspects of interactivity as it comes to exist within the creative story in digital mediums. Brief analyses of several articles regarding interactivity within the experience of the story and within education and culture have been included here. I have concluded that we have naturally moved towards using technology as an artistic medium. My direction and passions have also been reaffirmed in that, through my created digital journal CEIIA, I am assured that the digital medium is the ideal union for the artistic narrative, both literal and visual. Department of Telecommunications

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Morel, Pauline. "Circularity, myth, and storytelling in the short fiction of Leslie Marmon Silko." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ57827.pdf.

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Tanksley, Charles William. "The failure of storytelling to ground a causal theory of reference." Thesis, Texas A&M University, 2002. http://hdl.handle.net/1969.1/147.

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I argue that one cannot hold a Meinongian ontology of fictional characters and have a causal theory of reference for fictional names. The main argument presented refutes Edward Zalta's claim that storytelling should be considered an extended baptism for fictional characters. This amounts to the claim that storytelling fixes the reference of fictional names in the same way that baptism fixes the reference of ordinary names, and this is just a claim about the illocutionary force of these two types of utterance. To evaluate this argument, therefore, we need both a common understanding of the Meinongian ontology and a common taxonomy of speech acts. I briefly sketch the Meinongian ontology as it is laid out by Zalta in order to meet the former condition. Then I present an interpretation of the taxonomy of illocutionary acts given by John Searle in the late 1970s and mid 1980s, within which we can evaluate Zalta's claims. With an ontology of fictional characters and a taxonomy of speech acts in place, I go on to examine the ways in which the Meinongian might argue that storytelling is an extended baptism. None of these arguments are tenable-there is no way for the act of storytelling to serve as an extended baptism. Therefore, the act of storytelling does not constitute a baptism of fictional characters; that is, storytelling fails to ground a causal chain of reference to fictional characters.

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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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Ingham, Michael Anthony. "Theatre of storytelling : the prose fiction stage adaptation as social allegory in contemporary British drama /." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20275961.

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Camus, Cyril. "Mythe et fabulation dans la fiction populaire de Neil Gaiman." Thesis, Toulouse 2, 2012. http://www.theses.fr/2012TOU20030.

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Les œuvres de Neil Gaiman sont souvent qualifiées de postmodernes dans la mesure où elles lient expérimentation et autoréflexivité à une démarche de fiction populaire qui leur paraît antagoniste. A l’inverse d'une œuvre postmoderniste typique, qui met en avant sa mise à nu des mécanismes fabulateurs, les métafictions et les parodies gaimaniennes restent des fictions fantastiques et merveilleuses où les enjeux fabulateurs (psychologie et parcours des personnages, intrigue, émotion et suspens) gardent leur place primordiale. Elles ne sont donc pas des œuvres expérimentales mêlées d'éléments de fiction populaire, mais des œuvres de fiction populaire autoréflexive. Cette posture singulière fait de ces œuvres un terrain d'exploration fertile pour la réflexion sur les spécificités de la fiction populaire, et sur la place privilégiée qu'y occupe la fabulation ("storytelling"), notion qu’Henri Bergson ou Frank McConnell considéraient comme le fil rouge entre l’écriture de fiction d’aujourd'hui et la mythopoèse religieuse d’autrefois. Cette dialectique instaurée entre fabulation, mythe et fiction populaire constitue le cœur thématique des œuvres de Gaiman, qui abondent en réécritures de mythes anciens, modernes, religieux, populaires, et en représentations de personnages d’écrivains et de conteurs traditionnels, ou de personae gaimaniennes, qui, au plus fort de l’intrigue comme aux confins du paratexte, au détour d’une préface ou d’une vignette de bande dessinée, forgent une représentation de la fiction comme mythe, de l’écrivain comme figure mythique du conteur, et de la fabulation comme activité humaine quintessentielle Neil Gaiman’s fantasy works are often deemed postmodernist since they experiment with self-reflexivity and mix it with a supposedly antagonistic impulse towards popular fiction. Typical postmodernist works mostly emphasize their attacks against the fictional illusions of referentiality, character or plot. On the contrary, Gaiman’s works unapologetically remain within the bounds of fantasy, a genre in which imagination and storytelling are paramount–along with their related issues: characterization, plot, emotion and suspense. Thus, Gaiman’s fiction is not experimental fiction enhanced with elements of popular fiction, but actual popular fiction made self-reflexive. Thanks to that peculiar mood, studying Gaiman’s work is a very fruitful means of investigating the distinctive features of popular fiction, and its inherent emphasis on storytelling–or, as Henri Bergson called it, “fabulation.” Both Bergson and Frank McConnell focused on this notion which they saw as the essential link between ancient mythmaking and today’s fiction writing. Gaiman’s fiction mostly relies on such a dialectics between myth, popular fiction and storytelling or fabulation. His fantasy stories constantly rewrite ancient, religious myths, modern myths or the “myths” of popular fiction, and feature many fictional and historical writers, traditional storytellers, or Gaiman’s own personae, so that in paratext as well as in the heart of a narrative, in the quiet and supposedly reliable words of an introduction as surely as on the most striking comics panels, fiction is portrayed as myth, writers as mythical avatars of some archetypal storyteller, and storytelling as the one, quintessential human act

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Groupierre, Karleen. "Enjeux des transmédias de fiction en terme de création et de réception." Paris 8, 2013. http://octaviana.fr/document/178604062#?c=0&m=0&s=0&cv=0.

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Dans un monde empreint de fictions et baigné de nouveaux médias apparaissent des histoires immersives déployées sur de multiples supports, des créations polymorphes qui sont à la fois films, jeux, installations artistiques, performances, concerts, etc. : les transmédias de fiction. Dans une démarche de recherche articulée à des réalisations pratiques, cette thèse se propose d'interroger les enjeux des transmédias de fiction en terme de création et de réception. Dans un premier temps, cette étude nous a amenés à dresser une cartographie sémantique permettant de caractériser les différentes formes de transmédias observées. Nous avons cherché ensuite à retracer dans l'histoire des arts les fondements éventuels du mode de création transmédia et observé l'émergence des premières productions à l'origine du genre. L'observation de différentes fictions transmédia et l'étude de réalisations personnelles nous a permis de relever des modifications engendrées par la forme transmédia d'une œuvre fictionnelle. En effet, il apparaît que ce mode de création, visant à rendre les rêves plus vraisemblables, permet à l'auteur d'exprimer son univers imaginaire sans limites de médias faisant de lui le véritable chef d'orchestre d'une fiction déployée sur de multiples supports, réels comme numériques. De plus, ce type de narration induit aussi des mutations dans les rapports des spectateurs à l'œuvre, car les fictions transmédias se veulent participatives et très immersives. Ainsi, cette thèse interroge la possibilité de l'émergence d'un nouveau genre : le trans-art, un mode de création polyforme renouvelant les processus de création de l'auteur comme le rapport du spectateur à l'œuvre In a world marked by fiction and fed by new medias, immersive stories appear, spread over multiple supports, polymorphical creations which are all together movies, games, artistical installation, happenings, concerts, etc. . . : fiction transmedias. In a research approach based on practical realisations, this doctoral thesis aims at questioning fiction transmedia challenges in terms of creation and audience reception. In a first step, this research focused on drawing a semantic mapping aiming at categorizing diverse forms of analyzed transmedias. We've, in a second step, tracked in Art history potential origins of transmedia creation mode as it appears nowadays, then observed the emergence of first productions generating this genre and finally proposed a corpus of fiction transmedias selected for their creative originality. Analyzing diverse fiction transmedias and personal productions gave us then the opportunity to focus on modifications generated by the transmedia shape of a fictional production. It appears indeed that this mode of production, aiming at making dreams more realistic, gives the author the possibility of expressing her realm of imagination without medias limitation, and positions her as a genuine director of a fiction spread over multiple supports. Moreover, this kind of narration also leads to alterations in relations of audience towards production, as fiction transmedias are likely to be participative and very immersive. This doctoral thesis thus challenges the possibility of emergence of a new genre : the Trans-Art, a polymorphical creation mode aiming at renewing author's creation processes as well as relation between audience and production

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Tkac, Aaron. "Architectural Daydreams: Using the Space Between Fiction and Reality to Explore the Potentials of Architectural Storytelling." University of Cincinnati / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1617104552113073.

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Selby, Sharon Dawn. "Myth, memory, and narrative : (re)inventing the self in Canadian fiction." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/6318.

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In this dissertation, I examine how the themes of memory, storytelling, and the construction of narrative identity develop in the works of Canadian authors Alistair MacLeod, Michael Ondaatje, and Jane Urquhart. As a means of delving more deeply into these themes, I focus on the specific narrative strategies that all three writers employ in the expression of the relationship between the individual and his/her community, as well as between physical and psychological realities. For the narrative voices in these authors’ works—given the different ways they envision and encode communal identity as constitutive of subjectivity—the past is inextricably embedded in the present. As they construct and record unfolding experience, a wider cultural history is written over with personal connections and significance. In the works of each of these authors, the act of telling stories (re)shapes people and events for the audience: speakers reform and reconstitute their experiences, allowing them both to rewrite the past and be haunted by it. Storytelling becomes an existential act in which personal landscapes are invested with structures of feeling that transcend local significance yet are manifested in everyday connections between ordinary people, and in daily (often unrecognized) struggles and acts of heroism. This includes a study of the means through which psychological evolution and trauma can be depicted. I also discuss how stylistic techniques such as fragmentation, repetition, self-reflexivity, and literary allusion function within these narratives. This aspect of my investigation provides the opportunity to engage more fully with the body of literary research that has already been produced on these authors.

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Boswell, Timothy. "After the Planes." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc115051/.

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The dissertation consists of a critical preface and a novel. The preface analyzes what it terms “polyvocal” novels, or novels employing multiple points of view, as well as “layered storytelling,” or layers of textuality within novels, such as stories within stories. Specifically, the first part of the preface discusses polyvocality in twenty-first century American novels, while the second part explores layered storytelling in novels responding to World War II or the terrorist attacks of 9/11. The preface analyzes the advantages and difficulties connected to these techniques, as well as their aptitude for reflecting the fractured, disconnected, and subjective nature of the narratives we construct to interpret traumatic experiences. It also acknowledges the necessity—despite its inherent limitations—of using language to engage with this fragmentation and cope with its challenges. The preface uses numerous novels as examples and case studies, and it also explores these concepts and techniques in relation to the process of writing the novel After the Planes. After the Planes depicts multiple generations of a family who utilize storytelling as a means to work through grief, hurt, misunderstanding, and loss—whether from interpersonal conflicts or from war. Against her father’s wishes, a young woman moves in with her nearly-unknown grandfather, struggling to understand the rifts in her family and how they have shaped her own identity. She reads a book sent to her by her father, which turns out to be his story of growing up in the years following World War II. The book was intercepted and emended by her grandfather, who inserts his own commentary throughout, complicating her father’s hopes of reconciliation. The novel moves between two main narratives, one set primarily in 1951 and the other in the days and weeks immediately prior to September 11, 2001.

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Walsh, Kaitlin Marie. "Figures of authority : Cervantes' critique of storytelling in selected works." Thesis, University of Oxford, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669757.

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Snelling, Sonia Louise. "'I had imagined myself into being' : storytelling girls in children's fiction from the beginning and end of the twentieth century." Thesis, University of Hull, 2010. http://hydra.hull.ac.uk/resources/hull:4718.

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This thesis is a text-based study of storytelling girls in children's fiction from the beginning and end of the twentieth century, providing close readings of three texts from each of these periods. Books in Part One are drawn from the canon of classic girls' stories: Ethel Turner's Seven Little Australians (1894), Frances Hodgson Burnett's The Secret Garden (1911) and L. M. Montgomery's Anne of Green Gables (1908); those in Part Two are more experimental contemporary texts: Marlene Nourbese Philip's Harriet's Daughter (1988) and The Other Side of Silence (1995) and The Tricksters (1986) by Margaret Mahy. All the books are by women writers and all feature unconventional, imaginative girl protagonists who foreground, in their creative interactions with their community and environment, issues of language and voice.I take a broadly feminist approach in this thesis to explore how these texts represent the young female voices of their protagonists becoming the means by which they express and define their identity. As both female and children, the girls in these books are doubly marginalized within a predominantly male, adult culture. While there have been radical changes of attitudes and opportunities in the social positioning of women over the century, in both sets of novels the protagonists struggle against a pattern of confining and silencing narratives. I argue that storytelling is used as both a metaphor and a device to unsettle repressive master discourses, develop alternative voices and imagine identities which exceed the limits of traditional narrative conventions. The inclusion of texts from both ends of the century demonstrates the persistence of particular narrative shapes and structures which restrict the possibilities of the female subject, but also reveals a continuity of strategies to circumvent or elude such prescribed stories, and invent and articulate more flexible, multiple and interconnected selves.

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Zalka, Csenge V. "Collaborative Storytelling 2.0: A framework for studying forum-based role-playing games." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu148959123885058.

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Fischer, Lindsey A. "Forgotten Tales." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1490965212691232.

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Herbig, Art, and Andrew F. Herrmann. "Polymediated Narrative: The Case of the Supernatural Episode "Fan Fiction"." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/757.

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Modern stories are the product of a recursive process influenced by elements of genre, outside content, medium, and more. These stories exist in a multitude of forms and are transmitted across multiple media. This article examines how those stories function as pieces of a broader narrative, as well as how that narrative acts as a world for the creation of stories. Through an examination of the polymediated nature of modern narratives, we explore the complicated nature of modern storytelling.

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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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Dougherty, Matthew. "A Way In: Stories and a Novel-in-Progress." Ohio University Honors Tutorial College / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1399904159.

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Mead, Heather Margret-Marie. "The effects of storytelling on student writing: A tool for the English language learner classroom." CSUSB ScholarWorks, 2002. https://scholarworks.lib.csusb.edu/etd-project/2159.

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This thesis examines the use of storytelling as a tool to facilitate writing in English language learners. It examines specifically the effects storytelling had on the student use of expressive language, story structure and creativity in their writing. It also analyzed the enjoyment level storytelling brought to the writing experience of the student.

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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. Department of Telecommunications

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Ellen, Mårtensson. "The Testing Bureau – Creating a climate fiction game to influence the narrative of climate change." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23597.

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The stories humans tell and are told about climate change matters in our understanding of the phenomena, and have an impact on how we act in relation to it. However, climate fiction video games are few in numbers. This project presents the development of “The Testing Bureau”; an interactive fiction game with a story inspired by climate research. The research used is that of the shared socioeconomic pathways: five scenarios that present different socio-economic and political movements and their impact on mitigating and adapting to climate change (O’Neill et. al 2015). The game has been created as a response to the lack of climate fiction within video games, as well as being a way to make climate change research visible outside of scientific circles. Playtests indicated that the game held the potential of spurring personal reflection and engagement on the topics of the policies and possible endings.

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Crawford, Fiona. "Augmenting author-activism: An examination of how a continuing primary text and digital media inform contemporary non-fiction author-activism." Thesis, Queensland University of Technology, 2016. https://eprints.qut.edu.au/101096/1/Fiona_Crawford_Thesis.pdf.

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Using a print magazine and associated digital media, this research focused on the intersection of existing writing practice, transmedia activism, and their interplay with old and new media. It identified and examined existing non-fiction author–activists' practices and considered innovative storytelling approaches that might enhance and extend contemporary author–activist practices to encourage social change.

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Bouillot, Daniel. "Relations du texte à l'image et au son dans le cadre d'une fiction littéraire interactive." Phd thesis, Université de Grenoble, 2012. http://tel.archives-ouvertes.fr/tel-01023951.

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L'essor du numérique et la multiplication des supports (smartphone, tablette tactile)ouvrent de nouvelles perspectives en matière d'écriture. Dans ce monde où textes, images et sons s'entrecroisent au fil des réseaux et au gré de l'interactivité, la fiction littéraire peut-elle trouver une voie qui lui permette de préserver sa richesse tout en bénéficiant des apports du numérique ? Comment l'auteur littéraire peut-il concevoir et agencer ses matériaux narratifs afin de toucher efficacement des lecteurs disposés à franchir le pas du numérique ? Quels sont les fondements d'une narration multimodale utilisant au mieux les potentiels du texte, de l'image et du son, dans toute leur complémentarité, pour servir une fiction littéraire destinée à un large public ? Ces questions sont abordées, tant du point de vue de l'auteur que de celui du lecteur, dans une approche transdisciplinaire à la fois théorique et expérimentale.

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Wälivaara, Josefine. "Dreams of a subversive future : sexuality, (hetero)normativity, and queer potential in science fiction film and television." Doctoral thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-62893.

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The aim of the thesis is to explore depictions of sexuality in popular science fiction film and television through a focus on storytelling, narrative, characters and genre. The thesis analyses science fiction as a film and television genre with a focus on the conventions, interpretations, and definitions of genre as part of larger contexts. Central to the argumentation is films and television series, from Star Wars and Star Trek, to Firefly and Torchwood. The approach allows a consideration of how the storytelling conventions of science fiction are, and have been, affected by its contexts. Through a consideration of a historical de-emphasis on narrative complexity and character formation in science fiction, the thesis displays and analyses a salient tendency towards juvenile and heteronormative narratives. This tendency is represented by a concept that I call the Star’verses, through which this dominant idea of science fiction as a juvenile, techno-centred, masculine, and heteronormative genre became firmly established. This generic cluster has remained a dominant influence on science fiction film and television since the 1980s. However, as argued, a major discursive shift took place in science fiction at the turn of the millennium. This adult turn in science fiction film, and television in particular, is attributed to contextual changes, but also to the influence of television dramaturgy. It explains why science fiction in the 21st century is not as unfamiliar with depictions of sexuality as its predecessors were. This turn does not signal a total abandonment of what the Star’verses represent; it instead contributes to a change to this dominant idea of the generic identity of science fiction. While sexuality has been disassociated from much science fiction, it is also argued that the science fiction narrative has extensive queer potential. Generic conventions, such as aliens and time travel, invite both queer readings and queer storytelling; the latter however is seldom used, especially in science fiction film. A majority of the examples of science fiction narrative that use this queer potential can be found in television. In cinema, however, this progression is remarkably slow. Therefore, the thesis analyses whether the storytelling techniques of Hollywood cinema, to which science fiction film owes much of its dramaturgy, could be considered heteronormative. A comparison is made to television dramaturgy in order to display the possibilities for the serialised, character-focused science fiction narrative. Ultimately, the thesis investigate the possibility for subversive storytelling and whether a normative use of dramaturgy needs to be overthrown in order to tell a subversive story.

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Guerrero, Pico María del Mar. "Historias más allá de lo filmado: Fan fiction y narrativa transmedia en series de televisión." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/385849.

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Esta tesis tiene como objeto de estudio el fan fiction (historias derivadas escritas por los fans de un producto de la cultura de masas) como modalidad de expansión narrativa de universos ficcionales transmedia originados en series de televisión. Concretamente, se ofrece un acercamiento a la capacidad creativa de los fans en entornos transmedia oficiales, y al fan fiction atendiendo a su dimensión textual y práctica a partir del estudio de caso de seis ficciones locales e internacionales: Águila Roja, Game of Thrones, Infidels, Mistresses, Fringe y Lost. Para ello se desarrolla un análisis textual fundamentado en la semiótica y la narratología, bases teóricas y metodológicas que se complementan con la etnografía digital en el estudio de una comunidad online de fan fiction. La utilización de estas metodologías supone un aporte innovador a los Fan Studies y la narrativa transmedia por los escasos referentes de su aplicación integrada en ambos campos. The object of study of this dissertation is fan fiction ––derivative stories written by fans of a mass culture product— as a form of narrative expansion in television-based transmedia fictional universes. Specifically, an approach to fans’ creative capacity in official transmedia environments is offered alongside an insight to the textual and practical dimensions of fan fiction focusing on the case study of six local and international television series: Águila Roja, Game of Thrones, Infidels, Mistresses, Fringe and Lost. In order to achieve this, a textual analysis drawing on semiotics and narratology is applied. Both theoretical and methodological sources are complemented with digital ethnography techniques in the study of an online fan fiction community. The application of these methods posits an innovative contribution to Fan Studies and transmedia storytelling research due to lacking models of their joint implementation in both fields.

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Moore-Barnes, Shannon-Lee. "Nature, narrative and language in Marlene van Niekerk's Agaat." Thesis, Nelson Mandela Metropolitan University, 2010. http://hdl.handle.net/10948/1235.

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Conrad Aiken’s observation that the “landscape and the language are the same, and we ourselves are language and are land,” depicts the material terrain we inhabit as necessarily informing the language we speak. An important corollary to Aiken’s observation is language itself writes the land. I argue that the binary division between culture and nature, as well as the attempts to universalise languages, abstracts discourse from necessary situated knowledges, alienating the land from the language it embodies. The severing of culture and nature as implied by Aiken’s observation is indicative of humanity’s progressive isolation from the land through language, as well as from their embodied natures. Remoteness results in what Marlene van Niekerk’s novel Agaat (2006) terms a “poverty disease” (2006: 251). Michiel Heyns confirms that the character Agaat relates this barrenness of spirit to her “diagnosis of spiritual ills through human dealings with the soil” (2009: 132). I illustrate the novel’s revitalisation of language as an act of ecological recuperation that alleviates dis-eased consciousnesses by potentially recognising, valuing and responding to situated knowledges revealed in land narratives.1 My argument therefore uncovers the challenges that the novel directs at an unreformed and universal Western2 To this end I use critiques of colonialism that reveal culture’s assimilation of the Other, rationalist discourse that continues to appropriate nature as resource for a hierarchical culture. 3 By combining this literary analysis with a wider eco-theoretical enquiry I position my study in an interdisciplinary field of investigation. This is in response to the damaging consequences of the inherited and fragmentary nature of specialisation. In addition, by detailing literary and feminist especially the work of Val Plumwood, Donna Haraway and Nicole Brossard. I use these critiques to analyse self/Other oppositions that Western culture constructs and patrols to maintain a defensive culture of domination. I show how nature and all those feminised and marginalised by Western discourses that hierarchise culture have been consistently overlooked and under-represented by those who purport to ‘control’ the environment and privilege the symbolic language as the carrier of culture. Agaat provides fruitful terrain for the reflection of marginalised voices; voices that confirm the environment and language as necessarily both feminist and social justice issues. 1 My preference for the hyphenated usage of the word ‘dis-ease’ signals the equation between discomfort or unease and disease or sickness. 2 While I am concerned over emphasising words such as Western and Apartheid by capitalising them, I have decided to retain this form so as not to diminish the magnitude of the effect these discourses have had on global and regional communities. 3 When referring to Others I, like Karen J. Warren, capitalise the term. Warren defines Others as all earth Others subjected to “unjustified domination-subordination relationships” (2005: 252). responses to Western patriarchal discourse and its impact on nature, I show the ways in which literature negotiates the possible re-conceptualisation of our collective cultural imagination. Van Niekerk’s novel offers a sustained critique of the oppressive Western conceptual frameworks that have dominated Others through hegemonic constructions. Furthermore, I investigate what this writer might offer as an alternative to systems of social, political and ecological control and the violence it inflicts.

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Långdal, Saga, and Linda Sjöquist. "Playing in a World of Voices." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-20011.

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In this Bachelor thesis we navigate the ample world of vocal storytelling. Stories are told in all types of media today, but it all started with voices and narrative—from when poetry was sung and theatrical performances such as opera were amongst the most popular and beloved arts. We lift the ground where voices lie today and take them to their deserved place, from solely being an audial companion in media to a main element in interactive storytelling. Hand in hand with Design Fiction as a chosen design perspective and Research through Design as our research approach, we explore ways of creating an immersive, dynamic experience both creative and academically. We found ourselves in infinite ideations of futuristic scenarios which we wanted to symbolize with a world and characters through voices. With Research through Design, we learn not only by doing research, but through actually designing a functional prototype that grants agency to the person interacting with it. The learning process in building this prototype helped us gain significant knowledge in programming, implementation technique and writing for games, especially considering that we had very little experience with these subjects prior to this project. One could say that we were confident in our audio production skills and came with blind eyes when approaching this theme for the first time. The results of our work lead us to the conclusion that, with the adequate knowledge and methods, voices can function as a main element in interactive media prototypes. Narrative, voice design and implementation techniques combined create a group of powerful tools that can achieve interactive storytelling. I denna kandidatuppsats utforskar vi i en värld av röstligt berättande. Berättelser berättas i alla typer av media idag, men det hela började med röster. Vi vill lyfta fram röster och deras förmåga att driva en berättelse, från att endast vara en osynlig del i ett audiovisuellt verk till ett huvudelement i en interaktiv berättelse. Med hjälp av Design Fiction som designperspektiv och Research through Design som forskningsmetod utforskar vi ett sätt att skapa en uppslukande, dynamisk upplevelse både kreativ och akademisk. Vi lär oss inte bara genom forskning, utan genom att faktiskt utforma en funktionell prototyp där användaren aktivt interagerar med narrativet. Berättelsen befinner sig i tankar om futuristiska scenarier som vi försöker få till liv. Resultatet av vår undersökning leder oss till slutsatsen att med tillräcklig kunskap och rätt metoder så kan röster fungera som ett huvudelement i interaktiva medieproduktioner. Berättande, röstdesign och implementeringstekniker skapar tillsammans en grupp kraftfulla verktyg för att uppnå interaktivt berättande.

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O'Neill, Brian. "A computational model of suspense for the augmentation of intelligent story generation." Diss., Georgia Institute of Technology, 2013. http://hdl.handle.net/1853/50416.

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In this dissertation, I present Dramatis, a computational human behavior model of suspense based on Gerrig and Bernardo's de nition of suspense. In this model, readers traverse a search space on behalf of the protagonist, searching for an escape from some oncoming negative outcome. As the quality or quantity of escapes available to the protagonist decreases, the level of suspense felt by the audience increases. The major components of Dramatis are a model of reader salience, used to determine what elements of the story are foregrounded in the reader's mind, and an algorithm for determining the escape plan that a reader would perceive to be the most likely to succeed for the protagonist. I evaluate my model by comparing its ratings of suspense to the self-reported suspense ratings of human readers. Additionally, I demonstrate that the components of the suspense model are sufficient to produce these human-comparable ratings.

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Sveningsson, Sofia. "Karaktärer, känslor och konversationer är ingenting för mig : En kvalitativ studie om hur fyra lärare behandlar skönlitterära texter för elever inom autismspektrumstillstånd." Thesis, Jönköping University, Högskolan för lärande och kommunikation, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-53901.

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Elever som har funktionsvariationen autismspektrumstillstånd har kognitiva nedsättningar som kan försvåra förståelsen av ett textinnehåll i skönlitterär genre. Elever med funktionsvariationen kan vara duktiga på att avkoda text. Det kan däremot vara vårt att förklara innehållet, förstå mellan raderna eller koppla texten till sitt eget perspektiv. Studiens syfte är därmed att öka kunskapen om hur några lärare arbetar med skönlitterära texter för elever inom autismspektrumstillstånd. Frågeställningarna tar upp hur lärare arbetar med olika strategier och metoder kring skönlitterära texter, hur lärarna anpassar skönlitterära texter både i undervisningen samt i samband med läsläxor och slutligen vilka hinder respektive möjligheter läsläxor i genren skönlitterära texter kan bidra med för en elev inom autismspektrumstillstånd. För att uppfylla studiens syfte och frågeställningar har en kvalitativ forskningsmetod tillämpats genom semistrukturerade intervjuer. I analysen av empiriska data har den behavioristiska teorin applicerats. Den behavioristiska teorin betonar en individualiserad undervisning, goda läromedel och strategier av upprepningar som arbetssätt. Resultatet visar i att lärarna använde mycket visuella material, boksamtal och läsfixarna som strategier. Samtliga lärare stöttade även en elev inom AST genom att använda skönlitterära texter av elevens intresse med en-till-en-undervisning. Det är i enlighet med vad det behavioristiska perspektivet betonar som viktigt. Samtliga lärare betonade även vikten av att samarbeta med vårdnadshavare, då elever inom AST behöver få en god stöttning och med samma uppgifter i både hemmet som i skolan. Slutligen delger lärarna att elever inom AST har olika individuella behov, därmed är det betydelsefullt att ha en mer ingående kunskap om AST för ett förbättringsarbete i skolverksamheten. Students with functional variation have cognitive impairments that can make it difficult to understand a textual content in a fiction genre. Students with functional variation happens to be good at decoding texts, but to be able to explain the content, understanding between the lines or connect the text to their own perspective is something that is complicated for a student with functional variation. The purpose of the study is thus to increase knowledge about how some teachers work with fictional texts for students in autism spectrum disorders. The questions address how teachers work with different strategies and methods around fictional texts, how teachers adapt fictional texts both in teaching and in connection with reading lessons and finally what obstacles and opportunities reading lessons in the genre of fictional texts can contribute to a student within autism spectrum disorders. To fulfil the aim and answer the research questions, the qualitative research method through semi-structured interviews has been applied through semi-structured interviews. In order to be able to analyze the empirical data, a behavioristic perspective has been applied. The behavioristic perspective emphasizes individualized teaching, good teaching materials and strategies of repetition as a way of working. The result remained that the teachers used a lot of visual materials, book talks and reading fixes as strategies. The teachers also supported the student with autism spectrum disorder by using fiction texts of the student's interest with one-on-one teaching. All teachers also emphasize the importance of cooperating with guardians, as students within autism spectrum disorder have to receive a good support and with the same tasks both at home and at school. Finally, the teachers reported that students within autism spectrum disorder have different individual needs, thus it is important to have a more in-depth knowledge of autism spectrum disorder for improvement work in school activities.

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Prisco, Mario. "Journeys beyond binaries : storytelling and polyphony in the narratives of Gabriella Ghermandi, Igiaba Scego, Ubax Cristina Ali Farah and Amara Lakhous." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/11947.

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In the last two decades, in media and political discourses, Italianness has been increasingly represented as a homogeneous and compact entity, which is intruded on and contaminated by immigrants. In this study, the binary opposition between Italians and migrants is investigated from the perspective of writers who inhabit a liminal space, between at least two cultures, with the main intent to problematize the binary itself and to show its nature of fabrication. On the basis of Said's contrapuntal method, the novels by Ghermandi, Scego, Ali Farah and Lakhous are thought to establish a counterpoint with dominant discourses about Italianness. With the firm belief that discourses about postcolonial Italy must address its colonial past, the works analysed are considered as in dialogue with both colonial and postcolonial discourses. A dialogical relation is established, within the study, between Ghermandi's Regina di fiori e di perle and Flaiano's Tempo di uccidere. Written from the perspectives of the colonized and the colonizers respectively, both novels unveil colonial crimes and faults in Ethiopia, thus being counter-narratives about official representations of Italian colonialism. In Scego's Rhoda and Oltre Babilonia and Ali Farah's Madre piccolo, like threads, the individual stories of Somali exiles intertwine to create a fabric, whose pattern reveals the importance of the legacy of colonialism within contemporary Italy. Mainly situated between Italian and Somali cultures, the protagonists experience traumas, suffering and loss but finally attain a contrapuntal awareness between the two cultural poles. They become conscious of how enriching their in-between position is; they affirm the value of their hybrid identity. With a further zoom into postcolonial Italy, Lakhous' Scontro di civiltà per un ascensore a piazza Vittorio and Divorzio all'islamica a viale Marconi analyse the binary ‘us-Italians' versus ‘thosemigrants' in two microcosms in Rome. General polarizations such as Islam and the West emerge as factors which are exploited in order to exacerbate tensions and divisions. In addition, Italianness appears to be an internally fragmented entity, which is imagined as compact and homogeneous, as a reaction to the influx of immigrants. Against any logic of binarism, the novels by Ghermandi, Scego, Ali Farah and Lakhous reveal the constant effort to create a passage between two poles and to uphold a dialogical relation between them; crossings over and hybridity are continuously affirmed. With their highly important affirmation of multiplicity, the works challenge any essentializing notion of identity and any narrow representation of Italianness, within multiethnic contemporary Italy.

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Gregg, Rebecca A. "Delivery and engagement in public health nutrition : the use of ethnographic fiction to examine the socio-cultural experiences of food and health among mothers of young children in Skelmersdale, Lancashire." Thesis, University of Chester, 2013. http://hdl.handle.net/10034/310904.

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Encouraging good nutrition is particularly important in the early years of life for the development of appropriate food habits and healthy adults in later life. These are governed by many contending and conflicting influences. Objective: This research examines the food choice influences for mothers of young children in Skelmersdale, West Lancashire (UK). Participants were recruited from a large community food intervention (clients) and were compared with those not involved in the initiative (non-clients). This enabled the reflection of the broader socio-cultural experiences of food and the influence of 'structure' and 'agency' on food choices. The research adopted a phenomenological approach using ethnographic recording techniques (interview and observation). The research findings are presented as ethnographic fictions. These short fictional stories provide a 'thick' description of the participant's lifeworld. They locate these choices in the person and the place. A hierarchy of food choice influences emerged from the data, with three main findings. Most prominently, the influence of individual capacity on the food choices made. Secondly, the influence of place, town planning and the geography of an area on food choices. Thirdly, the influence of gender, relationships and social networks. Central to the thesis of this research is the use of ethnographic fiction to enable a better understanding of the complexity involved in food choice and community development approaches to nutritional change. The use of ethnographic fiction conveyed a better understanding of people and of the role and impact of an intervention upon the wider processes involved in food choice. Ethnographic fiction was used here for the first time in public health nutrition to explain the complex picture of food choice for mothers of young children in Skelmersdale, and to convey new insight on food choice and the complexity of food choice influence.

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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.

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Favard, Florent. "La promesse d'un dénouement : énigmes, quêtes et voyages dans le temps dans les séries télévisées de science-fiction contemporaines." Thesis, Bordeaux 3, 2015. http://www.theses.fr/2015BOR30045/document.

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Il est question d’analyser une tendance marquée des séries de science-fiction contemporaines, qui proposent un récit complexe et feuilletonnant, impliquant une intense participation de la part des spectateur.ice.s ; ces dernie.re.s se voient promettre, via l’énigme, la quête et/ou le voyage dans le temps, un dénouement qui serait la conséquence logique des évènements mis en scène. Au travers des énigmes de Lost (2004-2010, ABC), de la quête des humains dans Battlestar Galactica (2004-2009, Sci-Fi) ou de l’utilisation du voyage dans le temps dans Doctor Who (2005- ?, BBC1), il est possible de déceler des mécanismes narratifs visant à entretenir l’illusion d’une progression réfléchie vers un dénouement tantôt mis en avant, tantôt repoussé, dans un contexte de production où les scénaristes ne sont pas maîtres de leur récit. Babylon 5 (1993-1999, TNT), série dont le récit a été effectivement prévu à l’avance, sert de maître-étalon, tandis que Fringe (Fox, 2008-2013) permet d’envisager les limites de cette tendance. La capacité de ces programmes à construire une « intrigue macroscopique » à l’échelle de la série toute entière, éclaire plus largement les processus narratifs à l’œuvre dans la majorité des séries narrativement complexes contemporaines (au sens de Mittell). Au fil des liens avec l’intrigue des cycles littéraires, et d’une méthodologie centrée sur la visualisation de l’intrigue macroscopique, on peut, en s’appuyant sur une narratologie des séries télévisées encore expérimentale, entrevoir une poétique de l’écriture prospective télévisuelle. Dans une perspective contextualiste, il est vital de garder en vue les conditions d’écriture, de production et de réception de ces objets atypiques ; en retour, ces récits prospectifs apportent un nouvel éclairage au projet d’une narratologie transmédiatique porté par les études contemporaines du récit The aim of this work is to analyse a specific trend in contemporary science-fiction TV series : narratively complex programs (Mittell) that require an increased investment from the viewer and seem to make the promise of a logical and fulfilling ending where truth is revealed, quests are achieved and time-travel paradoxes are resolved. Looking at the mysteries from Lost (2004-2010, ABC), the quest of the Thirteenth Tribe in Battlestar Galactica (2004-2009, Sci-Fi) or the never-ending use of time-travel in Doctor Who (2005- ?, BBC1), it is possible to isolate narrative mechanisms that alternately foreshadow and defer the ending, in a world where writers can’t have full control over the plot. Babylon 5 (1993-1999, TNT), a show written in advance by its creator, will be our Rosetta Stone, while Fringe (Fox, 2008-2013) will take us to the edge of that growing trend. These programs’ ability to construct a “macroscopic plot” on the scale of the entire series, shines a light on narrative process operating in the majority of narratively complex TV series. Taking a closer look at research on literary cycles, and creating narrative diagrams to visualize this macroscopic plot, it is possible to outline a poetic of prospective writing, drawing on television series narratology. Following a contextualist view, it is important to consider the writing, production, reception of these programs; in return, studying macroscopic plots in TV series can give new clues for transmedial narratology (Herman)

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Martins, Veramar Gomes. "[Entre] mundos: uma narrativa ficcional transmídia." Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/5018.

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Submitted by Cláudia Bueno (claudiamoura18@gmail.com) on 2015-12-07T17:07:16Z No. of bitstreams: 3 Dissertação - Veramar Gomes Martins - 2015.pdf: 14185061 bytes, checksum: b3fbb48d4d9cc252d1e682821047db21 (MD5) Dissertação - Veramar Gomes Martins - 2015 - Anexo.pdf: 4394862 bytes, checksum: cb1594de1ad7bf186edcbe4c90b111ae (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-12-08T06:35:46Z (GMT) No. of bitstreams: 3 Dissertação - Veramar Gomes Martins - 2015.pdf: 14185061 bytes, checksum: b3fbb48d4d9cc252d1e682821047db21 (MD5) Dissertação - Veramar Gomes Martins - 2015 - Anexo.pdf: 4394862 bytes, checksum: cb1594de1ad7bf186edcbe4c90b111ae (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Made available in DSpace on 2015-12-08T06:35:46Z (GMT). No. of bitstreams: 3 Dissertação - Veramar Gomes Martins - 2015.pdf: 14185061 bytes, checksum: b3fbb48d4d9cc252d1e682821047db21 (MD5) Dissertação - Veramar Gomes Martins - 2015 - Anexo.pdf: 4394862 bytes, checksum: cb1594de1ad7bf186edcbe4c90b111ae (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-06-23 Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES This research in visual poetics and search processes of creating two related goals, for a theoretical reflection involving cosplay elements and their connections with the visual language of comics and games in the universe of Japanese pop culture; and create a transmedia fictional universe that dialogue concisely with the issues involved in this theoretical reflection. Therefore briefly present the elements of the language of comics and game cosplay. Seeking establishing relations between the creation of a fictional universe and the development of a transmedia narrative. Done this theoretical framework, I analyze five productions involving the transmedia narrative concepts and two projects in the same space, but from the perspective of the artistic experience. Finally, I present the construction process of the fictional universe "Between Worlds", and how this content is related to the theoretical elements studied throughout this thesis, also reflecting on the imagery creation of this narrative, designed to exploit multiple media platforms, site, Facebook, Comic, Game and Cosplay. Esta pesquisa em poéticas visuais e processos de criação busca dois objetivos relacionados, elaborar uma reflexão teórica envolvendo os elementos do cosplay e suas conexões com as linguagens visuais das histórias em quadrinhos e dos games no universo da cultura pop japonesa; e criar um universo ficcional transmidiático que dialogue de forma concisa com os aspectos envolvidos nessa reflexão teórica. Para tanto apresento brevemente os elementos que constituem a linguagem dos quadrinhos do game e do cosplay. Buscando tecer relações entre a criação de um universo ficcional e a elaboração de uma narrativa transmídia. Feito este recorte teórico, analiso cinco produções envolvendo os conceitos de narrativa transmídia e dois projetos nesse mesmo espaço, mas na perspectiva da experiência artística. Finalmente, apresento o processo de construção do universo ficcional [ENTRE] mundos, e como este conteúdo se relaciona com os elementos teóricos estudados ao longo da presente dissertação, refletindo também sobre a criação imagética desta narrativa, criada para explorar as múltiplas plataformas midiáticas: o Site, o Facebook, a História em Quadrinhos, o Game e o Cosplay.

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Atterlid, Niclas. "Högläsning i skolan - ett sätt för elever att kliva in i berättelsens värld : En kvalitativ studie om hur lärare i årskurs F-3 arbetar med högläsning av skönlitteratur i svenskundervisningen." Thesis, Södertörns högskola, Lärarutbildningen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-37077.

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The aim of this study was to examine how a group of teachers in the same primary school work with fiction read-alouds in the Swedish teaching. The collected material was analysed by using Langer’s (2005) theory about imagination worlds. Two questions were then formulated to answer the purpose of the study: How do the teachers plan their fiction read-alouds in Swedish teaching? and How do the teachers describe the implementation of their read-alouds? The result shows that all of the teachers plan their fiction read-alouds with different types of preparation. This preparation includes: choosing the right book, which the teachers claim is dependent on several factors such as the students’ knowledge level or interests; reading the book before the read-aloud; and introducing the book in an interesting way during the read-aloud, which creates a pre-understanding of the content. Lastly, the teachers revealed that a large part of their planning work consists of creating post-reading tasks which are primarily aimed at developing students’ writing. The result also shows that the teachers have distinct rules for the implementation of their read-alouds. These rules help the teachers create favourable conditions for engaging students in the world of fiction. During read-alouds, the teachers embody the text through the use of their voices and body language. The importance of conversation during the read-aloud, with the primary purpose of helping students understand the content of the story, was also emphasized. The teachers also claim that conversation also gives their students a chance to think out loud and to reflect on the reading, thus gaining the opportunity to share each other’s thoughts.

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Campbell, Ashley. "Be/longing to Places: The Pedagogical Possibilities and His/Her/Stories of Shifting Cultural Identities." Thesis, Université d'Ottawa / University of Ottawa, 2019. http://hdl.handle.net/10393/39707.

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Looking to the places we live to inform our understandings of identity and belonging, this métissage of place-based stories draws on personal narratives and intergenerational stories to re/create meaning in new spaces and contexts. Through the interweaving of personal and academic stories, this research provides a space for critical engagement, creative scholarship and learning. The pedagogical possibilities of places and understanding of curriculum as both the lived experiences and knowledge/s that shape and in/form our identities and understandings. As newcomers, settlers, and treaty members, living on Turtle Island/North America, perhaps we must begin by looking at the places where we live and dwell, to better understand our responsibilities to both the land and peoples. Unsettling narratives that disrupt textbooks histories, and the re/telling of new/old stories. Using bricolage to gather up the fragments and/or pieces left behind – artefacts, memories and stories, I begin to re/trace the footsteps of my grandmothers - the re/learning his/her/stories, stories of shifting cultural identities and landscapes - and be/longing to places, while also examining how notions of be/longing are transformed through intergenerational stories and our connections to places. Stories that may help to move and guide us forward in a good way. From wasteland to reconciliation, this work examines the meaning of places to our lives and learning, as well as our responsibilities to land and peoples – those who came before, and the generations before us.

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Duggins, Angela. "Thinking Before You Act: A Constructive Logic Approach to Crafting Performance-for- Development Narrative." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etd/3342.

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The intent of this thesis was to test the feasibility of constructing performance-for-development narrative using a constructive logic approach. I created an equation which expressed the sum of non-human-elements as the sum of a narrative with each element serving as a variable. I used a review of persuasion literature to provide insight into the selection and manipulation of each variable. I provided my family as a hypothetical example and used my knowledge of their preferences and communication styles in conjunction with the literature and the equation to craft a narrative which might increase pro-school attitudes in other families like my own. I found that there exists a narrative comprised of only non-human elements that are likely to yield change in an audience given a specific situation, and that a constructive logic approach can be used to craft performance-for-development narrative.

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CHAVES, Gabriel Lyra. "Narragonia 3.0: ficção científica e tecnognose em experimentações narrativas gráficas." Universidade Federal de Goiás, 2011. http://repositorio.bc.ufg.br/tede/handle/tde/2784.

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Made available in DSpace on 2014-07-29T16:27:51Z (GMT). No. of bitstreams: 1 Dissertacao parte1 Gabriel Lyra Chaves.pdf: 3501458 bytes, checksum: 365aed6e9f2a8e73dad2fff61890993b (MD5) Previous issue date: 2011-04-28 This work, done for the area of Visual Poetics and Creation Processes, set out in search of two distinct objectives: a theoretical reflection that embraces the language of comics, science fiction and tecnognose, noting the relationship of these two last elements in comic works of the early 1980s; and create a graphic narrative that reflects what was learned in theoretical deliberation. To do so, I ve examined the elements that constitute the language of comics, watching how they relate to each other in order to convey a message and generate subjective reactions in readers in the context of the story. I ve investigated how this narrative genre is structured, and at what points it approximates or take distances from other narrative genres. I ve also looked for relationships between science fiction and the definition of techgnosis, a concept which ponders about the manifestation of transcendental yearnings among supposedly secular aspects of contemporary culture. Done this theoretical approach, I will analyze two comics: Akira, from Katsuhiro Otomo and Ronin, from Frank Miller, observing the articulation of the concepts brought up to date within these comics. And finally, I will deliberate on how I had built my own fictional universe, and how this speaks to the theoretical elements studied throughout this thesis, also reflecting on the formal aspects of the creation of imagery to Narragonia 3.0, a science fiction narrative structure based on the language of comics, but designed to exploit the multiple narrative possibilities brought about by social networks, sites and other digital media over the Internet. Esta pesquisa em poéticas visuais e processos de criação busca dois objetivos distintos: tecer uma reflexão teórica que abarque a linguagem das histórias em quadrinhos, a ficção científica e a tecnognose, observando o relacionamento destes elementos em duas obras de quadrinhos da década de 1980; e criar uma narrativa gráfica que dialogue de forma dinâmica com os aspectos envolvidos na reflexão teórica. Para tanto, analisei os elementos que constituem a linguagem dos quadrinhos, observando como eles se articulam para reforçar a mensagem no contexto da narrativa. Também procuro mostrar como o gênero narrativo da Ficção Científica se estrutura, e em que pontos se distancia e aproxima de outros gêneros narrativos. Busco tecer relações entre ficção científica e a definição de tecnognose, conceito que pondera sobre a manifestação de anseios transcendentais em meio a aspectos supostamente laicos da cultura contemporânea. Feito este recorte teórico, analisei duas obras de quadrinhos: Akira, de Katsuhiro Otomo e Ronin, de Frank Miller, observando a articulação de elementos específicos das histórias em quadrinhos e da ficção científica e da tecnognose. Finalmente, elaboro um histórico de como foi construído meu próprio universo ficcional, Narragonia 3.0, e como este dialoga com os elementos teóricos estudados ao longo da presente dissertação, refletindo também sobre os aspectos formais da criação imagética desta narrativa de ficção científica baseada primordialmente na linguagem dos quadrinhos, mas criada para explorar as múltiplas possibilidades narrativas trazidas por redes sociais, sites e outros suportes digitais presentes na rede Internet.

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Ho, Ka-ying Kathy. "Children's use of evaluative devices in telling fictional and personal narratives." Click to view the E-thesis via HKU Scholars Hub, 2007. http://lookup.lib.hku.hk/lookup/bib/B42004901.

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Thesis (B.Sc)--University of Hong Kong, 2007. "A dissertation submitted in partial fulfilment of the requirements for the Bachelor of Science (Speech and Hearing Sciences), The University of Hong Kong, June 30, 2007." Includes bibliographical references (p. 28-30). Also available in print.

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Wood, Hannah. "Video game 'Underland', and, thesis 'Playable stories : writing and design methods for negotiating narrative and player agency'." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/29281.

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Creative Project Abstract: The creative project of this thesis is a script prototype for Underland, a crime drama video game and digital playable story that demonstrates writing and design methods for negotiating narrative and player agency. The story is set in October 2006 and players are investigative psychologists given access to a secure police server and tasked with analysing evidence related to two linked murders that have resulted in the arrest of journalist Silvi Moore. The aim is to uncover what happened and why by analysing Silvi’s flat, calendar of events, emails, texts, photos, voicemail, call log, 999 call, a map of the city of Plymouth and a crime scene. It is a combination of story exploration game and digital epistolary fiction that is structured via an authored fabula and dynamic syuzhet and uses the Internal-Exploratory and Internal-Ontological interactive modes to negotiate narrative and player agency. Its use of this structure and these modes shows how playable stories are uniquely positioned to deliver self-directed and empathetic emotional immersion simultaneously. The story is told in a mixture of enacted, embedded, evoked, environmental and epistolary narrative, the combination of which contributes new knowledge on how writers can use mystery, suspense and dramatic irony in playable stories. The interactive script prototype is accessible at underlandgame.com and is a means to represent how the final game is intended to be experienced by players. Thesis Abstract: This thesis considers writing and design methods for playable stories that negotiate narrative and player agency. By approaching the topic through the lens of creative writing practice, it seeks to fill a gap in the literature related to the execution of interactive and narrative devices as a practitioner. Chapter 1 defines the key terms for understanding the field and surveys the academic and theoretical debate to identify the challenges and opportunities for writers and creators. In this it departs from the dominant vision of the future of digital playable stories as the ‘holodeck,’ a simulated reality players can enter and manipulate and that shapes around them as story protagonists. Building on narratological theory it contributes a new term—the dynamic syuzhet—to express an alternate negotiation of narrative and player agency within current technological realities. Three further terms—the authored fabula, fixed syuzhet and improvised fabula—are also contributed as means to compare and contrast the narrative structures and affordances available to writers of live, digital and live-digital hybrid work. Chapter 2 conducts a qualitative analysis of digital, live and live-digital playable stories, released 2010–2016, and combines this with insights gained from primary interviews with their writers and creators to identify the techniques at work and their implications for narrative and player agency. This analysis contributes new knowledge to writing and design approaches in four interactive modes—Internal-Ontological, Internal-Exploratory, External-Ontological and External-Exploratory—that impact on where players are positioned in the work and how the experiential narrative unfolds. Chapter 3 shows how the knowledge developed through academic research informed the creation of a new playable story, Underland; as well as how the creative practice informed the academic research. Underland provides a means to demonstrate how making players protagonists of the experience, rather than of the story, enables the coupling of self-directed and empathetic emotional immersion in a way uniquely available to digital playable stories. It further shows how this negotiation of narrative and player agency can use a combination of enacted, embedded, evoked, environmental and epistolary narrative to employ dramatic irony in a new way. These findings demonstrate ways playable stories can be written and designed to deliver the ‘traditional’ pleasure of narrative and the ‘newer’ pleasure of player agency without sacrificing either.

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Chambefort, Françoise. "Mimèsis du flux, exploration des potentialités narratives des flux de données." Thesis, Bourgogne Franche-Comté, 2020. http://www.theses.fr/2020UBFCC004.

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Art du flux, data art, l’art numérique s’approprie les flux de données. Le rapport au réel et au temps qui s’y joue semble propice à la narration, pourtant les œuvres intègrent rarement des récits. Choisissant la voie de la recherche création, cette thèse explore les potentialités narratives des flux de données. Articulant les approches techniques, sémiotiques, sociales et esthétiques, la réflexion se nourrit, outre les sciences de l’information et de la communication, de disciplines variées telles que l’informatique, la philosophie, la sociologie, les sciences cognitives et la narratologie. L’œuvre Lucette, Gare de Clichy a été créée spécifiquement pour répondre à la question de recherche. La structure de l’œuvre a été déclinée en une version écran et une version performance. Elle est étudiée depuis sa création jusqu’à sa réception par le public. L’installation de Jonathan Fletcher Moore Artificial Killing Machine est analysée en parallèle. Dans un premier temps, l’objet de recherche – le récit fondé sur un flux de données en temps réel - est défini et le concept de moulins à données est forgé pour désigner ce type d’œuvres. Quatre hypothèses sont ensuite formulées et vérifiées successivement. Si les moulins à données sont à même de configurer une représentation de type narratif, ils doivent pour cela s’affranchir de la logique de l’action. Le récit de fiction est alors mis en mouvement par le réel. La métaphore qui relie les données du réel à la fiction provoque une oscillation de l’attention du spectateur entre le comparé et le comparant. Cette métaphore-switch possède la capacité de renforcer le sens qu’elle véhicule. Les moulins à données sont ainsi à même de faire ressentir la contingence de la vie telle que l’éprouve une personne vulnérable, ballotée entre temps objectif et temps subjectif Sometimes called stream art or data art, digital art seizes data streams as its raw materials. Choosing a path of creative research, this thesis explores the story-telling potentialities of data streams. Structured around technical, social, semiotic and aesthetic approaches, its thinking draws on various fields of study : information and communication sciences, but also computer sciences, cognitive sciences, philosophy, sociology and narratology. The work Lucette, Gare de Clichy was especially designed to answer the researched question. The conformation of the work allowed for two different versions of it : a screen version and a performance. It is studied in all its stages, from its creation process to the public's response to it. Jonathan Fletcher Moore's installation, Artificial Killing Machine, is also analyzed. First, our object of research - stories made from a real-time data stream - is defined and the concept of data mills is crafted to refer to this type of work. Then four hypothesis are formulated and individually verified. If data mills are to be able to form a narrative representation, they must free themselves from the logic of action. Thus can fiction become powered by reality. The metaphor that links the data originated in reality and the crafted fiction generates in the viewer a shifting of focus between what is compared and what compares. This switching-metaphor has the power to reinforce the meaning it carries. Data mills are therefore able to convey the contingency of life as experienced by a vulnerable individual, tossed back and forth between objective and subjective time

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Giles, Sally M. "Sandra Cisneros as Chicana storyteller : fictional family (hi)stories in Caramelo /." Diss., CLICK HERE for online access, 2005. http://contentdm.lib.byu.edu/ETD/image/etd946.pdf.

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Thiaw, Mame Libasse. "La mise en récit du corps masculin du migrant : étude comparative de fictions arabophones et francophones." Electronic Thesis or Diss., Université de Lorraine, 2022. http://www.theses.fr/2022LORR0291.

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Notre thèse intitulée "La mise en récit du corps masculin du migrant africain: étude comparative de fictions arabophones et francophones" est né du constat de l'actualité de plus en plus pressante de la migration.En tant que fait ethnosociologique se nourrissant notamment des évolutions et bouleversements sociaux, la littérature reflète les questionnements de ces populations touchées par le phénomène migratoire et par l'inéluctable problème de leur reconstruction identitaire. Elle met en scène leurs réflexions sur les difficultés à s'inscrire dans un espace hétérogène et hétéroculturel et sur les sacrifices qu'ils seraient disposés à faire pour y remédier et faire le lien entre passé et avenir : jusqu'à quel point seraient-ils prêts à renoncer à leur culture, à abandonner une part d'eux-mêmes, à altérer leur identité, à devenir de nouveaux individus, tout en conservant des éléments identitaires et culturels de leur passé ?Une thématique en particulier permet de répondre à ces questions fondamentales pour les migrants : la représentation du corps physique varie en effet en fonction de l'espace dans lequel il s'inscrit, et a fortiori, en contexte de transplantation dans un territoire étranger.Cette question est peut-être plus cruciale encore pour les migrants africains, immédiatement stigmatisés par la couleur de leur peau et par des comportements et des codes gestuels différents. C'est la raison pour laquelle il nous a paru intéressant de consacrer notre thèse à l'étude de la mise en récit du corps masculin des migrants négro-africains dans la littérature africaine. Cette étude a pris en compte tant des aspects biologiques du corps et de ses rapports avec la société, que des projets narratifs des auteurs. Elle a porté, en priorité, sur l'inscription du corps dans le récit et a permis de dégager les procédures et significations narratives du corps masculin The narrative of the male body of the African-African migrant. A comparative study of Arabic-speaking and Francophone fictions emerged from the increasingly pressing reality of migration.As an ethno-sociological fact feeding notably on social evolutions and upheavals, the literature reflects the questioning of these populations affected by the migration phenomenon and the inevitable problem of their reconstruction of their identity. It reflects on the difficulties of entering into a heterogeneous and heterocultural space and on the sacrifices they would be willing to make to remedy them and make the link between past and future: how far would they be Ready to renounce their culture, to abandon a part of themselves, to alter their identity, to become new individuals, while preserving the identity and cultural elements of their past?One theme in particular allows us to answer these fundamental questions for migrants: the representation of the physical body varies according to the space in which it is inscribed, and a fortiori, in the context of transplantation in a foreign territory.This question is perhaps even more crucial for African migrants, who are immediately stigmatized by the color of their skin and by different behavior and gesture codes. This is why it seemed interesting to us to devote our thesis to the study of the narration of the male body of African-African migrants in African literature. This study will took into account both the biological aspects of the body and its relations with society, as well as the narrative projects of the authors. It focused on the inscription of the body in the narrative and will aim at identifying the narrative procedures and meanings of the male body

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Hitchin, Linda. "Technological uncertainties and popular culture." Thesis, Brunel University, 2002. http://bura.brunel.ac.uk/handle/2438/5247.

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This thesis is an inquiry into possibilities and problems of a sociology of translation. Beginning with a recognition that actor network theory represents a sociological account of social life premised upon on recognition of multiple ontologies, interruptions and translations, the thesis proceeds to examine problems of interpretation and representation inherent in these accounts. Tensions between sociological interpretation and social life as lived are examined by comparing representation of nonhuman agency in both an actor-network and a science fiction study of doors. The power identified in each approach varies from point making to lying. A case is made for considering fictional storytelling as sociology and hence, the sociological value of lying. It is by close examination of a fictional story that this study aims to contribute to a sociology of translation. The greater part of the thesis comprises an ethnographic study of a televised children's story. Methodological issues in ethnography are addressed and a case is made for a complicit and multi-site ethnography of story. The ethnography is represented in two particular forms. Firstly, and unusually, story is treated as a Storyworld available for ethnographic study. An actor network ethnography of this Storyworld reveals sociologically useful similarities and differences between fictional Storyworld and contemporary, social life. Secondly, story is taken as a product, a broadcast television series of six programmes. An ethnography of story production is undertaken that focuses attention on production performances, hidden storytellers and politics of authorship. Story is revealed as an unfinished project. A prominent aspect of this thesis is a recognition that fictional storytelling both liberates and constrains story possibilities. This thesis concludes that, in addressing critically important tensions in sociological representation, fictional stories should be included in sociological literature as studies in their own right.

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Dissertations / Theses on the topic 'Storytelling in fiction'

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