Dissertations / Theses on the topic 'Storywork'

This study investigates the previously neglected literary phenomenon of game novels, a genre that is part of the increasing significance that games are having in culture. Intermedial studies is one of the principal fields that examines these types of phenomena, which provides perspectives for understanding the interactions between media. Furthermore, it forms the foundation for this study that analyses the relation between the four novels by Drew Karpyshyn (Mass Effect: Revelation, 2007; Mass Effect: Ascension, 2008; Mass Effect: Retribution, 2010) and William C. Dietz (Mass Effect: Deception, 2012), and the Mass Effect Trilogy. Differences and similarities between the media are delineated using semiotic theories, primarily the concepts of modalities of media and transfers of media characteristics. The thesis further investigates the narrative discourse, and narrative perspectives in the novels and how these instances relate to the transferred characteristics of Mass Effect. Ultimately, the commonly transferred characteristic in the novels is the storyworld, which reveals both differences and similarities between the media. Regardless of any differences, the similarities demonstrate a relationship where the novels expand the storyworld.

This thesis examines the ways in which Beyoncé Knowles-Carter’s 2016 album Lemonade works as a culturally significant text in the realm of popular media. Situated within Black feminist theoretical concepts of freedom practices and Black Feminist Love Politics, the thesis argues that Lemonade mobilizes stylistic and strategic intertextual references to develop a transmedia storyworld within a paradigm of resistance to, and healing from, white supremacist histories. Such intertextual information exists within the musical, lyrical, visual, poetic, and transmedia domains of Lemonade. The transmedia extensions include interviews, live performances, speeches, social media posts, and photoshoots. Combined with theories from Black feminist thought of freedom practices—which include talking back (bell hooks 1989), dark sousveillance (Simone Browne 2015), and interruptions to whiteness (DiAngelo 2011)— and Black Feminist Love Politics (Jennifer Nash 2013), the intertextual data present in Lemonade can be analyzed using methodologies from the field of popular musicology (intertextuality and mediality).

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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Doctor Who, a British series created and produced by the BBC since 1963 has been devoted as one of the oldest and most successful series of fiction for television. The series has set its course and achieved cult status, becoming the success it is today with an extensive amount of episodes and seasons and a large expansion of its narrative universe to other media such as movies, comics, literature, digital and analog games. The expansion of a work brings a series of obstacles, a vast narrative maintained for so long and in so many media, undergoes several changes with the passage of time, the fans can also change or have different expectations. Nevertheless some series like Doctor Who, manage to remain firm and coherent over time. These series can find and construct a solid identity that is interesting and acceptable to its fans, this identity is related to the archetypes of the fictional universe of the series and is what often guides the narrative direction and the migration of this narrative to other media, this study aimed to analyze and punctuate the elements that define this identity of Doctor Who and how this can contribute to the production and study of vast transmedia narratives.
A série britânica, Doctor Who, criada e produzida pela BBC desde 1963 se consagrou como uma das mais antigas e bem-sucedidas séries de ficção para a televisão. Doctor Who trilhou seu caminho e atingiu o status cult se tornando o sucesso que é hoje, com uma extensa quantidade de episódios e temporadas, e uma grande expansão de seu universo narrativo para outras mídias como o cinema, os quadrinhos, a literatura, os jogos digitais e analógicos. A expansão de uma obra traz uma série de obstáculos, já que uma vasta narrativa mantida por tanto tempo e em tantas mídias sofre várias mudanças de modo que seus fãs também podem mudar ou passar a ter expectativas diferentes das iniciais. Apesar disso, algumas séries como Doctor Who, conseguem, ao longo do tempo, se manter firmes e coerentes de modo a encontrar e construir uma identidade sólida, o que é interessante e aceitável para seus fãs. Além disso, essa identidade tem relação com os arquétipos do universo ficcional da série, sendo, muitas vezes, o que norteia o direcionamento narrativo e a migração dessa narrativa para outras mídias. Este estudo teve como objetivo analisar e elencar quais são os arquétipos centrais que definem essa identidade, no caso, da série Doctor Who, e como isso pode contribuir para a produção e o estudo de vastas narrativas transmídia, ajudando na compreensão dos arquétipos centrais de universos ficcionais tendo como foco a construção e expansão dessas narrativas.

I processi di digitalizzazione e convergenza hanno avuto un forte impatto sulle modalità di produzione, distribuzione e fruizione dei contenuti audiovisivi. Ma tale impatto non si è limitato ai suddetti ambiti. Fenomeni come il transmedia storytelling, le narrazioni distribuite, l’intertestualità, l’ibridazione delle forme discorsive, l’integrazione di elementi di game-playing all’interno di strutture narrative tradizionalmente lineari, e la crescente rilevanza del world-building all’interno del processo creativo di una storia dimostrano che il cambio di paradigma non sta avvenendo solo a livello delle strutture economiche, produttive e comunicative, ma anche a livello narratologico. Scopo di questa ricerca è mappare tale cambio di paradigma, approfondendo in modo particolare l’emergere delle forme narrative transmediali.
The processes of digitalization and media convergence have had a major impact on the procedures of production, distribution and reception of audiovisual content. However, the impact has not been limited to those areas. The emergence of cultural phenomena such as transmedia storytelling, distributed narratives, intertextuality, the hybridization of forms of discourse, the integration of elements of game-playing within the traditionally linear narrative structures, and the growing importance of world-building within the story development process attest that the paradigm shift is not only occurring at an economical, industrial and communicational level, but also at a narratological one. The aim of this research is to map this paradigm shift, with particular focus on the emergence of transmedia narrative forms.

Die Entwicklungsschübe der modernen Medien im 20. Jahrhundert haben die Wechselbeziehungen zwischen den Künsten, den Medien, den Sinnesmodalitäten, den verbalen und nonverbalen Ausdrucks- und Zeichenprozessen verstärkt und erweitert. Im Zuge dieser Entwicklungen sind Genre- und Formatfragen über das disziplinäre Interesse einzelner Kunst- und Medienwissenschaften hinaus ins Aufmerksamkeitsfeld einer vergleichenden Medienästhetik und -dramaturgie ge-rückt. Aufbauend auf den Erkenntnissen von Kalisch 2014, 2016 und den Überlegungen Gaudreaults 2009 zu einer Unterscheidung zwischen Narration und Monstration, ist es gelungen ein Modell zur Analyse von Werken unter dem Ausgangspunkt von Dramaturgie und Präsentationsstruktur herauszubilden, das für jedwedes dramaturgisch motiviertes und fiktionales Werk verwendet werden kann, unab-hängig vom Medium. Als Mittel zur Verdeutlichung der Thesen wird Horror als ästhetische Kategorie definiert, die einen direkten Einfluss auf die narrativen Strukturen eines Werkes besitzt, was den narrativ-monstrativen Doppelcharakter von Werken belegt und ferner verdeutlicht, dass Erzählung und Formung eines Werkes untrennbar verbunden sind. Die Dualität von Dramaturgie und Präsenta-tionsstruktur wird in der Formung eines Werkes offenbar. Um dies zu verdeutli-chen, werden im Verlauf der Arbeit kursorisch Beispiele von Werken mit Schre-ckensinhalten diskutiert und analysiert. Basierend auf diesem Modell wird eine Diskussion des Themenkomplexes von Intermedialität und Transmedialität im Spannungsverhältnis zur Komparistik der Künste durchgeführt. In der Folge wird eine Ästhetik des Schreckens diskutiert und anhand von ästhetischen Wertungskategorien aufgezeigt. Abschließend werden drei narrativ-motivierte Konzeptionen für dramaturgisch angetriebene Schre-ckensinszenierungen aufgeführt, die zur Kategorisierung von Werken angewendet werden können: düstere Präfiguration, düstere Konfiguration und düstere Manifestation.
The development in modern media during the 20th century (from movies over television to the hybrid forms of audiovisual and textual media in the internet) reveals interdependencies between art, media, the modalities of senses, the verbal and nonverbal dictions and semiotic processes that have evolved and expanded themselfes. According to this progress the interest in art and media studies should achive a collective interest in the changes of genre and formats, instead of a sepa-rated observation of only single disciplines. Following the Prolegomena on a comperative drama of media by Eleonore Ka-lisch (Kalisch 2014) and the thougts of André Gaudreault on Narration and Mon-stration (Gaudreault 2009) this thesis bulids a system to analyse works of fiction (e. g. movies, pictures, literature, video games). This system allows to analyse and compare works of fiction based on drama and presentation structure. The horror genre is used to show the mechanics of this system. Horror has a direct influence on the narrative structure of a work and manifests a duality of narration and mon-stration (Kalisch 2016), that binds drama and presentation to each other and shows the necessity of a separated consideration on both aspects. The duality of drama and presentation reveals itself during the modeling of a work of fiction. Build on the system the discourse is open to discuss intermetiality and transmedi-ality and their influence on the field of interest. Furthermore, an aesthetic of hor-ror is defined by evaluation categories of aesthetic indicators. In the end three types of narrativ driven concepts of horror are revealed and discussed: gloomy pre-figuaration, gloomy configuration and gloomy manifestation.

This study uses First Nations storywork to investigate indigenous learning. If cultural strategies were persistent and fundamental to the survival of a people, it would seem that understanding Nuu-chah-nulth learning orientations would provide emancipatory insight for First Nations learning in contemporary educational settings. Understanding what was and what is allows an envisioning of what could be. Therefore narratives about Umeek, the "community provider", the archetypal "go-getter", were read as a conceptual framework in which to identify learning orientations of Nuu-chah-nulth First Nations. The investigation had three foci. First, a protocol for First Nations cultural work was formulated and elaborated. This protocol was used as an overarching framework for the gathering of the stories, the interview process and the narrative analysis. Second, ethnographic and oral versions of Umeek narratives were gathered. Third, these narratives were read Nuu-chah-nulth elders cultural beliefs about learning for past and present success in a Nuu-chah-nulth life career (i.e. providing/achieving). Narrative deconstruction and metaphorical mapping served to identify and describe aspects of learning salient in the teachings of Umeek narratives. A full complex of learning archetypes emerged balancing innovation and conservation in an economy of change. Eight archetypal learning models were identified: the innovative transformational learner, the collaborative transformational learner, the directed lineage learner, the developmental learner, the cooperative learner, the resistant observational learner, the collaborative resistant learner, and the opportunistic observational learner. Themes which emerged central to Nuu-chah-nulth First Nations learning ideology and knowledge construction were: grandparents provided the foundation of learning, oosumch (ritual bathing) provided motivational management, partnerships permitted collaboration, ancestor names provided orientation and sacred sites provided frames for experiences. Nuu-chah-nulth learning theory was articulated in a storywork framework that provided insight into Nim-chah-nulth pedagogy: hence, it needs to be understood in the context of Nim-chah-nulth education. First Nations educational theory and learning models that are operating in communities need to be understood in the context of current education. Western schooling may not satisfy Nuuchah- nulth learning needs for transformation and strategic knowledge. Storywork is important in de-colonizing First Nations sensibilities in the process of self-determination in education, counseling, life career development, and healing.

This thesis presents the results of a qualitative research study that examined the resilience development with six Anishinabe (Ojibway) women. This study examined from the women’s perspectives, “What meaning(s) do First Nation graduates of secondary or post-secondary education make about risk and/or protective factors that may have affected their success in completing their degree/diploma requirements?” In this research, I closely examined the historical accounts and progressive educational changes of six successful Anishinabe women who attended either the residential, provincial or band operated schools. The narrative/storywork voiced by the women was gathered by one in-depth interview and were analyzed in two parts. First, the Western idea of resilience (Benard, 2004) was examined. Second, the development of resilience utilizing Indigenous narrative/storywork (Archibald, 2008; Thomas, 2008; Wilson, 2008) and the cultural framework of the Medicine Wheel teachings (Bopp, Bopp, Brown, & Lane, 1988; Medicine Wheel Evaluation Framework, 2012) was explored. The findings from this thesis revealed that through protective factors and/or supports of their community, environment, school, and family and restored Indigenous philosophy, maintained culture, language, spirituality and traditional worldviews, a process of resilience emerged and/or was developed and overpowered risk factors, challenges and/or adversities. The amalgamation of findings supports what research suggests that Aboriginal people exist in two worlds, their world and mainstream world (Fitznor, 2005). Co-existance, acceptance, and a balance of both worlds are supports and fundamental keys to resiliency and educational success.

Environmental racism has recently entered the realm of academic inquiry and although it currently sits in a marginalized category, Indigenous and environmental communities and scholars have acknowledged it as an important subject of critical inquiry. With roots in southern Americana history, environmental racism has had a limited scope of study within Canadian universities. Few Canadian scholars have presented the rippling effects of this critical phenomenon to Aboriginal and non-Aboriginal students and the challenge to bring this discourse to the universities of Canada remains significant. Mainstream educators and environmentalists dismiss discourses of environmental racism, ecological destruction and the correlating demise of Indigenous peoples’ knowledges, cultures and wellness as an insignificant and sometimes radical propaganda. In opposition, Indigenous peoples globally are countering this dismissal by telling their stories to ensure all have access to the discourses of environmental racism found within the ecological destructions of traditional lands and the cultural genocides of their peoples. The stories of their histories and the subsequent activism define the resistances found within Indigenous communities. These same stories show the resiliencies of Aboriginal peoples in their quest for self-determination. Using an Indigenous research methodological framework, this study seeks to provide an understanding of the complexities associated with incidences of environmental racism found within Canadian Aboriginal communities. It further seeks to find, analyze and report the depth of resistance and resilience found within the storywork of Aboriginal women. The researcher attempts to gain perspective from eight Aboriginal women of four distinct Nations by focusing on the context of their lives in relationship to their leadership decisions and actions from a worldview of Indigenous knowledge, eco-justice and peace. The lived experiences of Aboriginal women from the traditional lands of the Cree, the Denesuline, the Inuit and the Métis are critical to an analysis of how environmental racism is dismantled and wellness sought. The storywork of these participants provides answers as to how these Aboriginal women have come to resist environmental racism and why they currently lead others in the protection and sustainability of traditional lands, Aboriginal knowledge, culture and kinship wellness. Framed within Indigenous research methodology, all researcher actions within the study, including the collection, analysis and reporting of multiple data sources, followed the ceremonial tradition and protocols of respect and reciprocity found among Aboriginal peoples. Data from semi-structured qualitative interviews and written questionnaires was analyzed from the supportive western method of grounded theory. Findings revealed the strength of Storywork through the primary themes of Woman as Land and Woman as Healer. These are discussed through the Sisters’ embodiment of resistance, reflection, re-emergence and re-vitalization. The ways in which these Indigenous women have redeemed their knowledges and resurged as leaders is integral to the findings. The study concludes with an emphasis on the criticality of collective witnessing as transformation.

Indigenous adoptee scholars across Turtle Island and beyond have done good work in coming to understand their identity through community connection, culture, education and practice. A plethora of research has guided young Indigenous interracial adoptees on their journey, yet there are few stories focused on the experiences of interracial Maya adoptees reconnecting to their culture in KKKanada. Currently there is limited research documenting Maya adoptees experiences of displacement and cultural reclamation in KKKanadian adoption studies. Research must make more space for these stories and the stories of local Indigenous communities supporting them. In this story (thesis), through engagement with current literature and ten research questions, I explored what it meant to live as an interracial adoptee in West Coast Indigenous communities. An Indigenous Youth Storywork methodology was applied to bring meaning to relationships I have with diverse Indigenous Old Ones, mentors and Knowledge Keepers and their influence on my journey as a Maya adoptee returning to my culture. My personal story was developed and analyzed using an Indigenous decolonial framework and Indigenous Arts-based methods. This storying journey sheds light on the intricate intersections of interracial adoption, specifically for Maya Indigenous Youth who currently live in KKKanada. The intention of this Youth Storywork research work is to create space for Indigenous, Interracial, Transracial and Maya adoptees in Child and Youth Care, Social Work and Counselling Psychology education, policy and practice.
Graduate
2021-11-18

ABSTRACT Imaginative storytelling offered as an invitation to learning dovetails with the notion of Romance in cyclical, organic learning. It is upon the theme of rhythmic storytelling and its relationship to Alfred North Whitehead’s cycle of Romance/Freedom of “The Wood between the Worlds” that I concentrate in this thesis. The thesis proceeds in four chapters to facilitate such understanding. Chapter One reawakens the childlike wonder of the stories my father related to me when I was young; my personal academic trajectory traces out the Whiteheadian pattern of the overlapping tri-cycle of Romance/Freedom, Precision/Self-Discipline, and Generalization/Freedom. Chapter Two introduces the enchanted Narnian “Wood between the Worlds” envisioned by Clive Staples Lewis with reference to the literary and sensory forests I have known. Chapter Three presents the Voices of the Children from my Grade Two class over a period of one year, based upon my memories and personal anecdotal notes of their stories as well as their creative use of storytelling. I also explore Antonio Machón’s consideration of children’s drawings as storytelling. In conclusion, Chapter Four describes my journeys with First Nations pilot programs Math Warriors (Saskatoon Catholic School Board) and Indigenous Knowledge in Science (Saskatoon Public School Board), leading me to better appreciate Indigenous educational philosophy. In the process I consider insights shared by Verna Kirkness (Cree), Jo-ann Archibald (Stó:lö and Coast Salish), and others. Finally, I interpret “The Wood between the Worlds” from a Whiteheadian perspective, reflecting upon contrasts and commonalities Whitehead may share with Aboriginal thought.

This Inuvialuit ‘story’ revolves around the Inuvialuit uprising and resurgence against government and industrial encroachment, and the self determination efforts to regain sovereignty of traditional territories. This ‘story’ also discusses how meaningful consultation made the Inuvialuit Final Agreement a reality, through which Inuvialuit land rights and freedoms were formally acknowledged and entrenched in the Canadian Constitution. Through meaningful consultation, Inuvialuit have become ‘meaningful participants’ in sustainable and future-making decisions of Inuvialuit nunangat (Inuvialuit lands) and waters, with respect to the Inuvialuit People and natural beings that Inuvialuit depend upon and maintain relationship with. As ‘meaningful participants’, Inuvialuit have the sovereign rights to “make meaning” and carve out a future as a sovereign nation within the country of Canada. This Inuvialuit ‘story’ is told with an informal framework through which it decolonizes academia, while also highlighting Indigenous voice through an Indigenous lens and worldview. The government and industry are called upon to meaningfully consult with Indigenous Peoples who have not only inhabited Turtle Island for millennia, but who have inherent Indigenous rights and freedoms, as Indigenous embodiment and well-being, and temporality and future-making are entangled with homelands.
Graduate

The PhD thesis Seriality in Czech and Slovak Comics Narration. Genres - Models - Worlds intends to deepen our understanding of the historically most prevalent serial form (as in "form of organization") of comics' texts, which phenomenon is here described and further studied building upon the material base of the Czechoslovak comics of the 20th century. At the same time, this seriality is considered here as both the topic of research and its main analytical tool, since the thesis aims to advance our knowledge of history of local comics, as well as to propose seriality-related theoretical tools and concepts. On the historical and interpretative level, the Czechoslovak tradition of comics is conceptualized through its dominant publication-presentation types (comics being presented in the periodicals context) of episodic segments with their strictly limited space/page allowance, with focus on formats and models of periodicity, as well as on genre and composition related topics. Further chapters are dedicated to specific sub-categories of comics narratives (either format-based - comic strip, or genre-oriented - funny animal comics). These not only give an appropriate historical overview of the individual topics, but also serve as the prerequisites for consideration of general, arguably even...

The thesis being presented aims to stress the differences between characters in fictional worlds and characters in storyworlds by means of question of possibilities and limits of reader's inferences. The aims of this thesis is to prove that storyworld construed as a mental model manages to avoid some problems that relate to fictional worlds theories. First chapter provides an insight into the issue of definitions and theories of character and places cognitive approaches to character within it. Since a concept of fictional world and a concept of storyworld are often construed as very alike, in the second chapter, there are two opposed opinions concerning reader's activity during a construction of fictional world; that is theories of Lubomír Doležel and Marie-Laure Ryan. By means of their mutual comparision, the distinctive status of fictional character concerning reader's inferences is being emphasized that further bears a decisive role within theory of Umberto Eco of which a core is presented in chapter three. The link between story comprehension and construction of fictional character is a centre of interest of chapter four, where cognitive approaches are represented by theories by Alan Palmer and David Herman. This chapter presents storyworld and character within it as open and fluid flexible....

We are currently witnessing the transformation of media landscape since transmedia contents affect the strategy of distributors, producers, and television broadcasters. This new phenomenon has multidisciplinary overlap, so we encounter with different interpretations and terminology in this discourse. The master thesis Transformation of distribution of audiovisual content in transmedia context has two main objectives. Its primary aim is to unify the basic terminology for media, audiovisual, and distribution discourse based on academic literature. The secondary aim is to explore the strategies of 3 largest domestic terrestrial TV broadcasters through formal analysis. The practical part is divided in 2 sections. The first one is focused on how TV stations have implemented transmedia extensions in the context of audience immersion and broadcasters branding in their distribution strategies. The second examines whether there is true transmedia content for original shows and storyworlds in their production. It is just a matter of time before these changes in distribution strategies will affect TV broadcasters. Transmedia extentions are associated with a creative process since ancient times but we could not realize their existence. Keywords transmedia, crossmedia, transmedia storytelling, convergence,...