Dissertations / Theses on the topic 'Creative Storytelling'
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Haggerstone, Andrew. "Language, fantasy and storytelling : how humans became creative." Thesis, University of York, 2017. http://etheses.whiterose.ac.uk/20363/.
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The thesis I try to develop here hopes to contribute to some recent discussions on the evolution of human creative cognition. In particular, it is a response to the view that pretend play was a primary driver of the evolution of human creativity, a position defended in Carruthers (2002), Picciuto and Carruthers (2014) and elsewhere. This thesis doesn’t directly address what we might think of as a traditional philosophical puzzle. Instead, my concern here is with a puzzle that has its origins in palaeoanthropology. While it might not be ‘our’ puzzle, it nonetheless touches upon areas which have long been the concern of philosophers: the nature of thought and its relationship to language, the nature of representation in art, and more recent concerns with our understanding of concepts like the imagination and creativity and what their relationship might be. It appears as though the emergence of our species saw a rapid (in evolutionary terms) development of material culture, from new hunting techniques to the production of representational art. Because of its dramatic contrast with the relatively stagnant material culture of pre-cursor hominids this has sometimes been described as a ‘creative explosion’. One of the central questions this dramatic change prompts is what drove this explosion? Many answers have been posited, including the emergence of language, the appearance of pretend play in childhood, and the accumulation of material wealth in the form of skills and improved tools that allowed our ancestors the time to be creative. I develop an alternative thesis which sees a co-evolution of language, a tendency to engage in fantasy, and the externalisation of this tendency in storytelling as the explanation.
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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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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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Rau, Man-Lin. "Creative, imaginative English-as-a-foreign-language using storytelling and drama." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2693.
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With a view to improve English teaching, this project provides creative teaching methods for English teachers of elementary schools in Taiwan. Storytelling, creative writing, and creative drama are interesting and lively activities that are used to motivate students to learn English.
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Olson, Ted. "The National Storytelling Festival: Words, Music, and Memories." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/1126.
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Excerpt: A Other acclaimed masters of the spoken word scheduled to appear at this year’s Festival include David Novak, Minton Sparks, Joseph Bruchac, Milbre Burch, and Jackson Gillman. Each year the Festival seeks to represent storytelling from a range of cultural traditions, and this year is no exception. Rev. Robert Jones and Diane Ferlatte will present stories and music relating African American experience, while Festival attendees may also see and hear performances by Yiddish storyteller Shonaleigh, Chinese American storyteller and musician Charlie Chin, and Brazilian performance artist Antonio Rocha. Several special events will be held in Anyone who shares an appreciation for A the telling of stories should note that the world’s oldest and largest festival dedicated to celebrating that ancient art will take place a short drive from western North Carolina on October 4-6, 2013.
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Carson, Jo. "Spider Speculations: A Physics and Biophysics of Storytelling." Digital Commons @ East Tennessee State University, 2008. http://amzn.com/1559362839.
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"Jo Carson lays bare her personal investigation into her own creative process after a spider bite on her back begins a series of life-altering events. Spider Speculations applies cutting edge mind-body science, quantum physics and ancient shamanistic techniques to describe how stories work in our bodies and our lives, and what happens when real stories are used in a public way. Carson, whose ability to capture the spoken word hallmarks her community-based work, sets down this story in her own distinctive voice, interspersing the journey with examples of her performance work. This truly original American book will speak to anyone thinking about art and community or engaging with people's stories"--Publisher description.https://dc.etsu.edu/alumni_books/1019/thumbnail.jpg
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Olson, Ted. "Word-weaving in Tennessee: The National Storytelling Festival." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1127.
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Excerpt: Appalachia is a storied land. Every place within the region has its own story, and virtually every person who has spent a significant amount of time in a specific Appalachian place has been affected by—indeed, has become part of—that story.
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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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Masters, Danny L. "Using creative stories to enhance the theological understanding and retention of the Beatitudes of Matthew 5:1-12." Fort Worth, TX : Southwestern Baptist Theological Seminary, 2007. http://dx.doi.org/10.2986/tren.049-0492.
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Chanter, Thomas E. "Investigation of the advantages and disadvantages of using creative narrative in the preaching experience." Theological Research Exchange Network (TREN), 1997. http://www.tren.com.
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Sias, Jennifer Nicole. "Telling God's sanction : storytelling in the narrative journalism, memoirs, and creative nonfiction of Rick Bragg /." Huntington, WV : [Marshall University Libraries], 2003. http://www.marshall.edu/etd/descript.asp?ref=239.
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Forest, Heather. "Inside Story: An Arts-Based Exploration of the Creative Process of the Storyteller as Leader." [Yellow Springs, Ohio] : Antioch University, 2007. http://www.ohiolink.edu/etd/view.cgi?acc_num=antioch1193235618.
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Thesis (Ph.D.)--Antioch University, 2007."Submitted to the Ph.D. in Leadership & Change Program of Antioch University in partial fulfillment of the requirements for the degree of Doctor of Philosophy August 2007."--from the title page. Title from PDF t.p. (July 31, 2008). Advisor: Carolyn Kenny Keywords: storytelling, leadership training, creative thinking, change leader, arts-based research, autoethnography, communication skills Includes bibliographical references (p. 213-238 ).
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Reynolds, Rebecca K. "Idea, Energy, and Power: Sayers’s Creative Process Model and the Storytelling of Jay O’Callahan." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etd/1418.
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This research uses an adaptation of Dorothy L. Sayers's 3-step theory of creativity to analyze the self-described creation process of contemporary storyteller Jay O'Callahan. Sayers wrote that Idea, Energy, and Power are foundational elements of the creative process. Idea is the invisible image that provides vision and unity throughout a project. The Energy is the working out of art into a medium. The Power is the connective force that binds artist to art and both to audience. (Sayers, 1987). This hermeneutical study develops subcategories within each of those 3 primary elements of creativity, then uses qualitative methods to explore connectivity to the creation process of O'Callahan. It was concluded that a high levels of correlation can be drawn between the Idea, Energy, Power model and O'Callahan's methods of story construction and delivery.
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Mikawa, Kohsuke. "MICRO-F3: As a prototype co-creative Futures Film Festival." Thesis, Queensland University of Technology, 2016. https://eprints.qut.edu.au/94780/1/Kohsuke_Mikawa_Thesis.pdf.
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This research designs, executes, and evaluates a prototype film event called micro-f3 Futures Film Festival. This event is a beta version of an original f3 Futures Film Festival concept created by external partner TExT-TUBE FUTURES STUDIOS, which included futures-themed media content in various genres and formats. The research here proposes that films could have a significant impact for identifying issues about the future. Therefore, through the micro-f3 event, this research aims to reveal the potential of futures-oriented films and events for telling futures scenarios.
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Ramsey, Leigh Sutcliffe. "Discernment a sacred story of co-creative relationship /." Theological Research Exchange Network (TREN), 1997. http://www.tren.com.
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Tordzro, Gameli Kodzo. "Story, storying and storytelling : a reflection on documentary film, music and theatre as creative arts research practice." Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/8941/.
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‘Story’ lifts and carries ‘Voice’ with which we can express what we sense. This thesis is an Autoethnographic reflection that charts theoretical and methodological reasons for ‘harnessing’ my (Gameli Tordzro) Aŋlɔ-Eʋe story, storying and storytelling practices in the making of the film ‘Music Across Borders’, the ‘Ha Orchestra Music Project’ and the ‘Broken World, Broken Word’ devised theatre project. It also covers how this is also established in my participating in and contributing to the development, and production of ‘Vessels 2015’ and ‘Last Dream (On Earth) theatre productions as artistic research. The productions focus on story, expressing the lived experience, and how the value, knowledge, opinion, belief, and culture, within such expression represent ‘voice’. ‘Story’ is how we package and present the lived experience. Thus, ‘story’ and ‘voice’ are linked. I assume a subjective stance and a position within the research as an Aŋlɔ-Eʋe multi-genre storyteller and present my understanding of methods and processes of music-making, film-making and theatre-making in a Ghanaian and an Afro-Scot (and New Scot) diaspora context. I re-activate the idea of decolonization - reclaiming, carrying and lifting ‘voice’ - through storytelling on screen, on stage and in music. It is accepted for ethnographers to be positioned within their text; Patricia Leavy, (Leavy, 2015), and David Inglis with Christopher Thorpe, (Inglis and Thorpe, 2012) describe ways in which people perceive and act upon their social world in the constant process of achieving their sense of reality as social actors. Barrett (Barrett and Bolt, 2007) also draw on materialist Martin Heidegger’s notion of “handleability” to argue that artistic research demonstrates how knowledge is derived from doing and from the senses. I explore Aŋlɔ-Eʋe ways of sense making through story. This artistic inquiry takes the form of the practical making, producing and reflecting on music, film and theatre drawing on Aŋlɔ-Eʋe storytelling traditions. It is an artistic Autoethnographic research, it is generative of material arts, social interaction and transformation on the levels of the individual, the community and cultural capital. This thesis is to be read in conjunction with and as a follow-up to the portfolio of productions attached as the main part of the research.
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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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Weidner, Deborah Fowler. "The Effect of Creative Dramatics Activities on the Story Retellings of Kindergartners." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc500489/.
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The study was designed to determine the effect a dramatic play activity had on the content of a story retelling of kindergarten students. Approximately 35 students were randomly sampled to form experimental and control groups. Both groups engaged in a read aloud activity, followed by brief discussion, and an independent illustration of the story. The experimental group participated in a creative reenactment of the story prior to the illustration activity. Students in both groups then retold the story to the researcher. Retellings were transcribed and scored for: Story Retelling Analysis score (Morrow, 1988); percentage of characters recalled; percentage of plot episodes recalled; and the presence of story language, inferential statements, and a distinct beginning, middle, and end. Anecdotal data are described narratively.
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Heck, Elizabeth L. "Social learning and the facilitation of co-creative media practice in community media, arts and cultural organisations." Thesis, Queensland University of Technology, 2016. https://eprints.qut.edu.au/102465/1/Elizabeth_Heck_Thesis.pdf.
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This thesis examines the significance of social learning in community media and arts contexts. It takes as its focus the use of storytelling by organisations in the community cultural development and community media sectors as a way of enacting social change from within communities. These organisations exist as hybrid learning environments, and they must maintain certain standards of quality in their processes and outcomes to be of ongoing value in their communities and to funders. Such community organisations create networked social learning systems, and the co-creative media practice explored in this thesis is learnt ‘in situ’ in communities of practice.
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Lynch, Daniel T. "Holding transmedia: Narrative at the intersection of print and digital creative writing." Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/107048/1/Daniel_Lynch_Thesis.pdf.
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This practice-led research project explores the phenomena of narrative cohesion in developing an original transmedia novel. In doing so, transmedia storytelling is positioned as a philosophical lens that mediates the intersection of print and digital creative writing. A combination of textual analysis and media specific analysis is used to establish and articulate patterns of cohesion in an array of various transmedia and literary works. Based on this analysis, the research proposes a theoretical framework for transmedia narrative cohesion that establishes links between literary and narrative theory, media studies, and social semiotics. The framework draws from, and is applied to, the creative work Martyrs: The life and afterlife of Collin Ampersand, arguing 'the book', as a physical artefact, still plays a vital role on the continuum of narrative innovation and experimentation.
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Bronkhorst, Jennifer. "Exegesis - Storytelling circles and straight lines : thesis - In transit: a collection of short stories : an exegesis and thesis submitted to Auckland University of Technology in partial fulfilment of the degree of Master of Creative Writing, 2009 /." Click here to access this resource online, 2009. http://hdl.handle.net/10292/795.
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Storytelling: circles and straight lines is a qualitative, retrospective analysis of my thesis (a collection of iconoclastic New Zealand short stories, entitled In Transit), in which I define the scope of my creative work by: positioning my approach within the wider contemporary and literary contexts; explaining its conceptual framework; and describing my intention and process. To these ends, I have drawn extensively on my personal experience, accumulated knowledge, and orientation, supplemented by wide reading. Throughout the text, I substantiate my views, arguments and conclusions with reference to noted writers, critics, language experts, and philosophers.
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D'Onofrio, Alexandra. "Reaching horizons : exploring past, present and future existential possibilities of migration and movement through creative practice." Thesis, University of Manchester, 2017. https://www.research.manchester.ac.uk/portal/en/theses/reaching-horizons-exploring-past-present-and-future-existential-possibilities-of-migration-and-movement-through-creative-practice(3c74de7b-f1f9-4fb8-a01d-929c8986e54a).html.
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Migration has become a topical theme both in academia and in public discourses across the media which have contributed to create a highly political and visual 'migrant subject'. However, the highly mediatized figure of the migrant has left crucial aspects of migration underrepresented and unrecognised. What is normally concealed and left to the margins of public debate is the individual experience of the protagonists, their imaginative lifeworlds and the complexity of their stories. This practice-based research has centred its inquiry on the relationship between the lived experiences and the imagination of past, present and future existential possibilities, by engaging three Egyptian migrants through the creative processes of theatre improvisations, storytelling practices, participatory photography, collaborative filmmaking and animation. It recognizes the fundamental role that imagination and future existential possibilities play in peopleâs perceptions of reality, in their decisions and actions, and finally in the way they narrate their experiences. In order to better understand how individuals make their choices, interact with each other, understand themselves and the world around them, I have argued that we need to take into account their biographies and imaginative inner lives as the ways people retell their stories allow space for contradiction, feelings of ambivalence and uncertainty, unlaced and unfinished thoughts and existential dilemmas. Imaginative realms of existence are ever-changing and ungraspable, posing a challenge to conventional methodologies in the social sciences which rely heavily on observation, interviews and text. The thesis is divided into two parts. By using the ethnographic material that emerged during fieldwork and from the creative processes, in the first part I look at the role imagination and the future play in Aliâs, Mohamedâs and Mahmoudâs relationships to their origins, and to their decisions and experiences of illegally crossing the Mediterranean Sea in order to reach Milan (Italy). The second part describes and reflects upon the performative and audio-visual collaborative practices that involved my participants in producing their own narrations and theoretical reflections on their experiences, aspirations and memories. It is thanks to the âsubjunctive possibilitiesâ enabled by performative improvisations, creative storytelling and the animation that my participants and I could explore their mnemonic and imaginative processes. Finally, the thesis concludes by arguing for social research to engage participants in more collaborative and creative practices in the study of migration, as a necessary way of involving the protagonists in producing the questions and counter-narratives that reclaim their acts of struggle and their creative imaginative abilities to contrast objectifying political discourses and exclusionary legal and bureaucratic procedures.
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Lam, Tsz-ki. "Developing creativity and problem solving through story telling for preschool children." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B35372941.
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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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Ings, Welby. "Talking pictures a creative utilization of structural and aesthetic profiles from narrative music videos and television commercials in a non-spoken film text : this thesis is submitted to Auckland University of Technology in partial fulfilment of the degree of Doctor of Philosophy, 2005." Click here to access this resource online, 2005. http://repositoryaut.lconz.ac.nz/theses/188/.
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Thesis (PhD) -- Auckland University of Technology, 2004.The digital copy of the exegesis, and the 2 CDs of images, props and environments created for the work have been removed from the thesis and are held by the Library's Digital Services Team. Also held in print (423 p. : ill. ; 25 x 27 cm. + 1 DVD of the film Boy (ca. 15 min.)), in Wellesley Theses Collection. (T 791.4372 ING)
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Falk, Moa, and Johanna Tjärnlund. "Kreativa marknadsföringskomponenter." Thesis, Högskolan i Borås, Institutionen Handels- och IT-högskolan, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-17847.
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Syfte: Mänskligheten strävar alltid efter att utvecklas och kreativitet är en central del i processen då världen ständigt blir mer komplex. Forskning inom området kreativitet är således en nödvändighet för ett modernt och framåtsträvande samhälle. Likaså inom marknadsföring ges kreativitet utrymme då marknaden idag är hårt konkurrensutsatt och utsatt för ett överflöd av marknadsföring. Det är därför av stor vikt att differentiera sig från mängden för att bli uppmärksammad och kreativitet är en betydelsefull del i att göra marknadsföring synlig. Syftet med studien är att söka förståelse kring vilka kreativa marknadsföringskomponenter som bidrar till uppmärksamhet samt hur de påverkar graden av uppmärksamhet. Syftet är även att minska det existerande forskningsgapet inom området.Design/metod: En empirisk undersökning av uppmärksammade reklamfilmer har gjorts för att uppnå studiens syfte och inspiration är till stor del hämtad från kulturanalys. Studien innehåller en kvalitativ analys av nio reklamfilmer där fyra marknadsföringskomponenter med koppling till kreativitet har identifierats och analyserats. De komponenter som inkluderats i studien är originalitet, humor, storytelling samt kändiseffekt och tidigare forskning och teorier inom dessa områden har legat till grund för studien.Resultat: Resultatet av studien visar att samtliga marknadsföringskomponenterna återfanns i fem av de nio reklamfilmer som analyserades. Originalitet och storytelling återfanns i de fyra resterande reklamfilmerna. Samtliga av komponenterna konstateras därför bidra till att öka uppmärksamheten kring en reklamfilm dock i olika stor utsträckning. Originalitet och storytelling är tillsynes en nödvändighet medan humor och kändiseffekten är komponenter som kan öka chanserna ytterligare för en reklamfilm att nå stor uppmärksamhet. Studien har även resulterat i slutsatsen att humor i större utsträckning återfinns bland uppmärksammade reklamfilmer. Studien bekräftar även tidigare forskning som visar att oväntade element är den form av humoristisk reklam som till största delen återfinns i dagens reklam.Framtida forskning: För framtida forskning rekommenderas det att studien utökas med analys av fler mediekanaler, observationer under längre tidsperiod samt intervjuer med respondenter som för första gången utsätts för reklamen. Det för att öka överförbarheten samt trovärdigheten och göra studiens resultat mer generellt applicerbart inom marknadsföring.Program: Civilekonomprogrammet
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Spicer, Alice. "The service learning experience: how storytelling evolves in people with Alzheimer's and dementia and why this is important to the creative writing student and the community." Honors in the Major Thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/913.
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All meaningful communication is a form of storytelling, according to Walter Fisher, who introduced the narrative paradigm to communication theory, and storytelling is universal across cultures and time as the manner in which people comprehend life. Storytelling is also a creative form of art. This interdisciplinary, multimedia work will explore the creative use of non-traditional storytelling to gather information about how creativity evolves in people with Alzheimer's and dementia and why this is important to both academia and the community. Currently, there is a lot of research available about the debilitating affects of memory loss, but there is very little research available about retained abilities. Perhaps, just as the blind significantly outperform the sighted in tactile experiments, there are some forms of creativity in storytelling in which people with Alzheimer's and dementia may demonstrate more ability than their fully cognizant peers. My goal is to contribute to a small but growing effort to explore "memory loss as (...) more than just memory loss" (Dr. Anne Bastings).B.A.
Bachelors
Arts and Humanities
English; Creative Writing
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McLaren, Sasha. "Material Synthesis: Negotiating experience with digital media." The University of Waikato, 2008. http://hdl.handle.net/10289/2761.
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Given the accessibility of media devices available to us today and utilising van Leeuwen's concept of inscription and synthesis as a guide, this thesis explores the practice of re-presenting a domestic material object, the Croxley Recipe Book, into digital media. Driven by a creative practice research method, but also utilising materiality, digital storytelling practices and modality as important conceptual frames, this project was fundamentally experimental in nature. A materiality-framed content analysis, interpreted through cultural analysis, initially unraveled some of the cookbook's significance and contextualised it within a particular time of New Zealand's cultural history. Through the expressive and anecdotal practice of digital storytelling the cookbook's significance was further negotiated, especially as the material book was engaged with through the affective and experiential digital medium of moving-image. A total of six digital film works were created on an accompanying DVD, each of which represents some of the cookbook's significance but approached through different representational strategies. The Croxley Recipe Book Archive Film and Pav. Bakin' with Mark are archival documentaries, while Pav is more expressive and aligned with the digital storytelling form. Spinning Yarns and Tall Tales, a film essay, engages and reflects with the multiple processes and trajectories of the project, while Extras and The Creative Process Journal demonstrate the emergent nature of the research. The written thesis discusses the emergent nature of the research process and justifies the conceptual underpinning of the research.
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Stellato, Pledger Jema Anna. "Disturbing the Storm: Narratives from the Liminal Space: Investigating the Commonalities Between Older Afghan Hazara Women and Calabrian Exiles through Theories of Storytelling and Creative Led Research." Thesis, Australian Catholic University, 2018. https://acuresearchbank.acu.edu.au/download/d7761cb7f72317b405b015c9ff53592f4300d264fc55a6514bdf15b9c79d05cb/6407204/STELLATO_PLEDGER_Jema_Anna_2018_Disturbing_the_storm_Narratives_from_the_liminal_space.pdf.
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This research draws from my lived experience as a second generation immigrant of Calabrian exiles and explores the commonalities between older Afghan Hazara women and Calabrians. Working with culturally diverse groups the research examines liminality through the narratives of both cultures and investigates whether the experiences of recent female refugee populations in Australia, reflect those of previous immigrant communities. Applying theories of storytelling and liminality, the research asks, "Can a multidisciplinary arts approach reflect cultural commonalities through the process of becoming other?"
The research observes the process older Hazara Afghan women1 embark upon when negotiating change post war and dislocation. My experiences from a family of Calabrian exiles draws from personal histories of my mother and grandmother as they attempted to find a sense of connection in Australia.
Little is known about the stories within the liminal space, a pivotal point between one’s past life and potential future. Further, the commonalities between two such diametrically different cultures have yet to be investigated. Becoming "other" is an empathic strategy and a methodological approach in my creative led research project to explore the overlaps between these two cultures.
The Hazara’s narratives capture the women’s perspectives and experiences against current Australian public perceptions and politics and these testimonials are juxtaposed against my family’s journey as exiles.
The theoretical discourse adopts storytelling, narrative inquiry, and auto-ethnography located in qualitative traditions. The creative component is a multilayered body of work set against a backdrop of personal and socio-political histories that crosses cultures and generations. The films are documented from live performances developed from a theatre script. The recorded performances have been transferred to video in conjunction with photography and poetry which thread liminality; magic realism; female identity and the immigrant journey to illustrate the impact of war and displacement, while simultaneously demonstrating the agency of the women.
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These women are Dari speaking, predominantly Shia people of central Afghanistan, and who have been victims of genocide for hundreds of years.
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Vincent, Florence Rose Anne. "You & I ; The stories we tell ourselves : turning trauma into narrative in Anne Enright's 'The Gathering', Niall Williams' 'History of the Rain', and John Banville's 'The Sea'." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/33053.
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Novel: You & I. 'You & I' is a coming-of-age tale tied up in the themes of trauma, memory and storytelling. It follows sixteen-year-old Esther, who is sent to live on the fictional Cornish island of Little Wimbish following the disappearance of her bipolar mother. Once on the island where her mother grew up, the damaged and reclusive Esther finds herself caught up in the lives, history and folklore of the Wimbish community - not to mention the mystery of her father's identity. As the story progresses and Esther becomes more invested in the fairy tale escapes promised by the island she now calls home, the voice switches back and forth between the second and first person - and we begin to suspect that our narrator may have inherited her mother's illness. This is a novel concerned with how we tell stories - about ourselves, our histories, and the places we live - and why. Essay: The Stories We Tell Ourselves: Turning Trauma into Narrative in Anne Enright's The Gathering, Niall Williams' History of the Rain, and John Banville's The Sea. How do we recover from trauma, and what role can storytelling play in the recovery process? This essay investigates the notion that in Anne Enright's The Gathering, Niall Williams' History of the Rain and John Banville's The Sea, each narrator carries out an attempt at recovery, enacted through a written recollection of their past traumas. Taking inspiration from various trauma theorists and psychologists, along with writer and trauma survivor Edward St Aubyn, this essay lays out the necessary steps which must be taken in order to integrate trauma into one's life story. By writing down their trauma, constructing a narrative which allows for a certain amount of invention, facing up to the dirtier and more difficult aspects of their experiences, and finally, sharing the finished narrative with another person, the trauma survivor may facilitate the beginnings of a recovery.
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Rothery, Barbara Joan. "Story writing in primary school : assessing narrative type genres." Phd thesis, Department of Linguistics, 1990. http://hdl.handle.net/2123/11443.
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Jacques, Carmen. "Everyday ethics and storytelling after terrorism: Collaborative ethnographies exploring intersubjective identities through anthropology, victim/survivor studies and communication and cultural studies." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2021. https://ro.ecu.edu.au/theses/2392.
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This thesis explores the effects of an experience of terrorism on the everyday lives of five ordinary people from different walks of life. I use storytelling, everyday ethics, and collaborative ethnography to enable the co-creation of emergent knowledge on the struggle to live ethical, hopeful lives after experiencing trauma. My work adds to the growing body of collaborative and ethical anthropological literature and brings an ethnographic approach into the area of terrorism/victim studies. The experimental nature of the thesis lies in its invitation to people with an experience of terror to participate in the knowledge making process.
I found each participant has a relationship with trauma that is in constant flux. There is an oscillation between the identity of a victim and that of survivor. Trauma operates like a tightrope in people's everyday lives; it must be traversed delicately, less life become unbalanced. My participants walk this tightrope of trauma; they have had to negotiate a sense of self that oscillates between who they were and who they can become.
The stories my conversationalists tell also communicate tales of self-transformation. Storytelling creates a space in which they can reimagine their experience of terror. Participants use stories to help negotiate a complex relationship with trauma, as well as to reclaim a fragile sense of agency. I argue that these stories reveal responses to violence that are necessarily social and ethical. While storytelling may not always be an effective method for reclaiming agency, the questions around storytelling after a terrorist attack (e.g. ‘Should I tell my story? to whom? and how?’) are themselves ethical ones. For my co-constructors of knowledge, the process of storytelling has allowed a re-interpretation of events and an opportunity for them to assert their renewed sense of self, often in terms of a traumatic yet transformed intersubjective identity.
The terror attacks have generated as much as they have destroyed. Despite placing constraints on aspects of participants’ everyday lives, an experience of terrorism has not determined all that each person is and who they can become. This thesis highlights the ways in which my conversationalists celebrate their humanity. Their celebration is often a struggle. There are moments that draw people with an experience of terror back into the trauma of the attack, and such moments may seem lifelong at times. These stories of shared humanity are often juxtaposed against those of continued suffering.
The struggle for humanity, and my participants’ struggle for hope, is keenly felt against the context of the violence they have experienced.
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Lam, Tsz-ki, and 林子琪. "Developing creativity and problem solving through story telling for preschool children." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B35372941.
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Konzal, Adalbert Woitek. "Entertainment architecture : constructing a framework for the creation of an emerging transmedia form." Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/50489/1/Adalbert_Konzal_Thesis.pdf.
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This thesis investigates the radically uncertain formal, business, and industrial environment of current entertainment creators. It researches how a novel communication technology, the Internet, leads to novel entertainment forms, how these lead to novel kinds of businesses that lead to novel industries; and in what way established entertainment forms, businesses, and industries are part of that process. This last aspect is addressed by focusing on one exemplary es-tablished form: movies.
Using a transdisciplinary approach and a combination of historical analysis, industry interviews, and an innovative mode of ‘immersive’ textual analysis, a coherent and comprehensive conceptual framework for the creation of and re-search into a specific emerging entertainment form is proposed. That form, products based on it, and the conceptual framework describing it are all re-ferred to as Entertainment Architecture (‘entarch,’ for short). The thesis charac-terises this novel form as Internet-native transmedia entertainment, meaning it fully utilises the unique communicative characteristics of the Internet, and is spread across media.
The thesis isolates four constitutive elements within Entertainment Architec-ture: story, play, ‘dance,’ and ‘glue.’ That is, entarch tells a story; offers playful interaction; invites social interaction between producer and consumer, and amongst consumers (‘dance’); and all components of it can be spread across many media, but are so well interconnected and mutually dependent that they are perceived as one product instead of many (‘glue’). This sets entarch apart from current media franchises like Star Wars or Halo, which are perceived as many products spread across many media. Entarch thus embraces the commu-nicative behaviour of Internet-native consumers instead of forcing them to de-sist from it, it harnesses the strengths of various media while avoiding some of their weaknesses, and it can sustain viable businesses.
The entarch framework is an innovative contribution to scholarship that al-lows researchers to investigate this emerging entertainment form in a structured way. The thesis demonstrates this by using it to survey business models appro-priate to the entarch environment. The framework can also be used by enter-tainment creators — exemplified in the thesis by moviemakers — to delimit the room for manoeuvre available to them in a changing environment.
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Carey, Benjamin P. "The architect of forking paths: Developing key writing strategies for interactive writers." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/115836/2/__qut.edu.au_Documents_StaffHome_StaffGroupH%24_halla_Desktop_Ben_Carey_Thesis.pdf.
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'The Architect of Forking Paths' examines the creative writing process involved in producing interactive narratives. Stories that feature interaction offer a substantially different reading experience because the reader influences the order, and often the outcome, of the story. This heightened level of participation adds another dimension to the process of conceptualising and writing such narratives. This thesis investigates this writing process using a number of research methods including creative writing, interviews with practitioners, content/textual analysis, and reflective practice. The exegesis contributes to theoretical and practical knowledge in the field of creative writing research by investigating the writing process involved in creating interactive narratives and proposing a group of potential writing strategies for authors. The creative component of this thesis is a 50,000 word interactive novel titled Ouroboros.
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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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El-Noor, Mardo. "Narratwist alteration in meaning in a short film text : this exegesis is submitted to Auckland University of Technology in partial fulfillment for the degree of Master of Art & Design, 2008." Click here to access this resource online, 2008. http://hdl.handle.net/10292/408.
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This project is a creative production that combines image, sound, and narrative. It uses these elements to employ a twist as a device for a paradigm and genre shift in a short film text. My short film introduces a plot that is seemingly linear. Yet, the twist presents a piece of information that reveals the actual non-linear nature of the story, which in turn necessitates the re-interpretation of the plot. The aim of this project is to explore how a twist in a narrative-based short film can alter the cues and perceptions the audience receive from the plot. The project is predominantly practice-based (80%).
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Ford, Loretta. "Creating Empathy for Nature through Illustrative Storytelling." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1620323088875422.
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Carlsson, Maria, Louise Gjelstad, and Emma Martinsson. "Konsten att styra en organisation : Målstyrning inom kreativa näringar med relaterat diversifierad verksamhetsstruktur." Thesis, Linnéuniversitetet, Institutionen för ekonomistyrning och logistik (ELO), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-53675.
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Bakgrund och forskningsfråga: Målstyrning är ett viktigt hjälpmedel för företag i deras strävan efter att följa sina strategier. Målstyrning kan ske genom användning av formella eller informella styrmedel, och ska anpassas efter varje enskilt företag. Traditionella affärsverksamheter har ofta som fokus att generera vinst och använder sig främst av formella styrmedel. Kreativa näringar har istället sitt fokus på kreativiteten, och använder sig främst av informella styrmedel. Kreativa företag har inte samma möjlighet att konkurrera på marknaden som traditionella affärsverksamheter, men den ekonomiska aspekten är fortfarande viktig då det är ett krav för deras fortlevnad. Flertalet kreativa näringar väljer att diversifiera sin verksamhet inom relaterade områden för att skapa en mer stabil ekonomi. Detta medför dock en utmaning i att behålla kreativiteten inom ett område, trots en diversifierad verksamhetsstruktur. Studiens övergripande forskningsfråga är: Hur håller kreativa företag, inom konstsektorn, med relaterat diversifierad verksamhetsstruktur samman hela organisationen genom målstyrning? Syfte: Syftet med denna studie är att beskriva hur kreativa företag med flertalet olika verksamhetsgrenar utformat sin målstyrning med hjälp av olika formella och informella styrmedel. Ytterligare ett syfte är att analysera vilka fördelar och nackdelar de olika styrmedlen skapar för företagen gällande deras målstyrning. Metod: Denna studie utgör en fallstudie av två kreativa näringar. Undersökningen utgår från en abduktiv forskningsansats med en kvalitativ forskningsstrategi. Den teoretiska referensramen är främst baserad på insamlat material från litteratur och vetenskapliga artiklar. Det empiriska materialet utgörs främst av ingående personliga intervjuer, samt viss information från hemsidor tillhörande de organisationer som deltar i denna studie. Slutsats: Kreativa näringar med relaterat diversifierad verksamhetsstruktur använder formella styrmedel för att styra de ekonomiska aspekterna och informella styrmedel för att styra kreativiteten och de anställdas beteenden. Denna målstyrning gör att de kan uppfylla både deras ekonomiska och konstnärliga mål och hålla samman sin relaterat diversifierade verksamhetstruktur.Background and research question: Performance management is an important tool for businesses in their efforts to pursue their strategies. Performance management can be achieved through the use of formal or informal control instruments, and should be tailored to each individual company. Traditional businesses often have the focus to generate profit and primarily use formal control instruments. Creative industries have instead its focus on creativity, and primarily use informal control instruments. Creative companies do not have the same opportunity to compete in the market as traditional businesses, but the financial aspect is still important as it is a requirement for their survival. Most creative industries choose to diversify their business in related areas to create a more stable economy. However, this means a challenge to retain the creativity in one area, despite a diversified business structure. The study's overall research question is: How do creative businesses, in the arts sector, with a related diversified business structure hold together the entire organization through performance management? Objective: The purpose of this study is to describe how creative companies with several different branches of business activity have designed its performance management using different formal and informal control instruments. Another purpose is to analyze the advantages and disadvantages that the different control instruments create for companies concerning their performance management. Method: This study is a case study of two creative industries. The survey is based on an abductive research approach with a qualitative research strategy. The theoretical framework is mainly based on material collected from literature and scientific articles. The empirical material consists mainly of detailed personal interviews, as well as certain information from websites belonging to organizations involved in this study. Conclusion: Creative industries with a related diversified business structure are using formal control instruments to steer the financial aspects and informal control instruments to steer creativity and employee behavior. This performance management enables them to meet both their financial and artistic goals and hold together its related diversified business structure.
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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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DIAS, MARIANA CASTRO. "TRANSMEDIA STORYTELLING: CREATING STORIES IN THE ERA OF MEDIA CONVERGENCE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2015. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=29399@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROEm um mundo de excesso de informação e convergência de mídias, cada vez mais produtores de entretenimento e marcas tentam encontrar seus consumidores em uma variedade de plataformas. O conteúdo redundante não contribui em nada para a mobilização da audiência, ao passo que uma narrativa transmidiática bem construída pode instigar a circulação do espectador entre os meios a fim de saber mais sobre uma história. O objetivo da presente dissertação é pensar o ato narrativo através de várias mídias de forma integrada, de maneira a criar conteúdo complementar e relevante. Para alcançá-lo, tornou-se necessário clarificar o termo narrativa transmidiática devido a seu uso anuviado pela mídia e meio acadêmico, que muitas vezes o confundem com branding ou mídias digitais. Foram analisados elementos fundamentais para o desenvolvimento desse tipo de narrativa e realizados estudos de casos centrados nas séries da Pemberley Digital, The Lizzie Bennet Diaries e Emma Approved e nas séries sociais produzidas em uma parceria entre a Intel e a Toshiba, Inside, The Beauty Inside e The Power Inside.
As we live in a world of information overload and media convergence, more and more entertainment producers and brands try to find their consumers in every platform they can. Redundant content doesn t contribute anything to audience experience, unlike a well-built transmedia narrative that can offer interesting content that instigates gathering among media to learn more about a story. The objective of this dissertation is to think the narrative act through many platforms in an integrated way, in order to create complementary and relevant content. To achieve this, it has become necessary to clarify the term transmedia storytelling clouded due to its use by media and academy, which often confuse it with branding or digital media. Fundamental elements were analyzed for the development of this type of narrative and case studies were done, covering the Pemberley Digital series, The Lizzie Bennet Diaries and Emma Approved and the social series produced in an Intel and Toshiba partnership, Inside, The Beauty Inside and The Power Inside.
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Hazboun, Suha. "Challenges of Transmedia Storytelling : Considerations of Creating of Transmedia Projects." Thesis, Högskolan Dalarna, Bildproduktion, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:du-15175.
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He, Yin. "Immersive Storytelling for Environmental Communication." Thesis, Linköpings universitet, Institutionen för datavetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-158200.
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As one of the earliest attempts to apply immersive technology in environmental communication, this design research project tries to answer the following research question: how do we communicate the connections between food-related behaviors and environmental impacts through immersive storytelling? During the project, an immersive story called "Trik’s' Party" for dome shows and a journey map of an immersive visitor experience are created. These design outcomes and this paper are built on the knowledge of scientific findings, communication methods, content creations, and service design. To support the creation process, new sketching, storyboarding and prototyping methods were developed for dome content creations. The core message of this paper is that effective environmental communication is not just about informing the public about facts and data from scientific studies. It is also about giving individuals and communities the knowledge, tools and spaces to develop a vision of their own future. Immersive storytelling is one of the methods for creating these spaces. It has a large potential to raise public empathy with other people and their future-self when the long-term and abstract impacts of the environmental problems become more visible and comprehensible in an imaginary space.
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Cooper, Karen G. P. "Counter-creation, co-creation, procreation a novel theological aesthetic & Not like other men : a novel /." Theological Research Exchange Network (TREN), 1991. http://www.tren.com.
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Spierling, Ulrike Martina. "'Implicit creation' : non-programmer conceptual models for authoring in interactive digital storytelling." Thesis, University of Plymouth, 2012. http://hdl.handle.net/10026.1/1195.
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Interactive Digital Storytelling (IDS) constitutes a research field that emerged from several areas of art, creation and computer science. It inquires technologies and possible artefacts that allow ‘highly-interactive’ experiences of digital worlds with compelling stories. However, the situation for story creators approaching ‘highly-interactive’ storytelling is complex. There is a gap between the available technology, which requires programming and prior knowledge in Artificial Intelligence, and established models of storytelling, which are too linear to have the potential to be highly interactive. This thesis reports on research that lays the ground for bridging this gap, leading to novel creation philosophies in future work. A design research process has been pursued, which centred on the suggestion of conceptual models, explaining a) process structures of interdisciplinary development, b) interactive story structures including the user of the interactive story system, and c) the positioning of human authors within semi-automated creative processes. By means of ‘implicit creation’, storytelling and modelling of simulated worlds are reconciled. The conceptual models are informed by exhaustive literature review in established neighbouring disciplines. These are a) creative principles in different storytelling domains, such as screenwriting, video game writing, role playing and improvisational theatre, b) narratological studies of story grammars and structures, and c) principles of designing interactive systems, in the areas of basic HCI design and models, discourse analysis in conversational systems, as well as game- and simulation design. In a case study of artefact building, the initial models have been put into practice, evaluated and extended. These artefacts are a) a conceived authoring tool (‘Scenejo’) for the creation of digital conversational stories, and b) the development of a serious game (‘The Killer Phrase Game’) as an application development. The study demonstrates how starting out from linear storytelling, iterative steps of ‘implicit creation’ can lead to more variability and interactivity in the designed interactive story. In the concrete case, the steps included abstraction of dialogues into conditional actions, and creating a dynamic world model of the conversation. This process and artefact can be used as a model illustrating non-programmer approaches to ‘implicit creation’ in a learning process. Research demonstrates that the field of Interactive Digital Storytelling still has to be further advanced until general creative principles can be fully established, which is a long-term endeavour, dependent upon environmental factors. It also requires further technological developments. The gap is not yet closed, but it can be better explained. The research results build groundwork for education of prospective authors. Concluding the thesis, IDS-specific creative principles have been proposed for evaluation in future work.
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Panjwani, Alisha (Alisha Hasan). "From storytelling to story making : children creating stories with tangible computational media." Thesis, Massachusetts Institute of Technology, 2015. http://hdl.handle.net/1721.1/98621.
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Thesis: S.M., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2015.Page 96 blank. Cataloged from PDF version of thesis.
Includes bibliographical references (pages 93-95).
Storytelling and making are two of the oldest forms of self-expression. Through stories we give meaning to our everyday experiences making sense of our world. By making physical objects, we can create tangible representations of our ideas that we can share with others. This thesis investigates how to introduce children and educators to StoryMaking, a process that cultivates creative learning by combining new forms of storytelling and new forms of making with technology. In this research, I highlight the process of StoryMaking, exploring ways for children to make physical representations of their personal stories using Tangible Computational Media (T1CM) - a medium that enables them to design and create physical objects with interactive and dynamic behaviors. Through workshops I observed children's StoryMaking explorations with three forms of TCM: paper electronics, programmable projections, and sewable circuits. Based on my observations and the analysis of the artifacts, I share how children represented their personal experiences artistically, electronically, and computationally. Through case studies, I reflect on my experiences facilitating these StoryMaking workshops. Based on these experiences, I describe ten design practices that can help other educators design and facilitate StoryMaking experiences in their learning settings.
by Alisha Panjwani.
S.M.
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Tarango, Yolanda. "Latina narratives creating meaning through story /." Theological Research Exchange Network (TREN), 2004. http://www.tren.com.
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Hodges, Eric Brandon. "Creating Better Citizens? Investigating U.S. Marine Corps Basic Training." Diss., Virginia Tech, 2014. http://hdl.handle.net/10919/63892.
Full textAbstract:
Yonkman and Bridgeland (2009) and Nesbit (2011) have each offered studies in recent years in which military veterans reported possessing skills and values that facilitate civic engagement. I investigated these claims by exploring basic training in one branch of the United States (U.S.) military, the Marine Corps. I conducted semi-structured, in-depth interviews with 10 enlisted Marine Corps veterans and 7 drill instructors to ascertain their perceptions regarding the didactic aspirations and pedagogies of their service's basic training related to skills and values development. I utilized a civic capacities model developed by Verba, Schlozman, and Brady (1995) and Kirlin (2003) to examine whether Marines' entry training could be classified as civic in character. According to this study/s participants, Marine Corps Basic Training did teach skills and values that qualify as civic dispositions. I also explored several pedagogical strategies utilized by the Marines, such as learning communities, role modeling, narrative pedagogy and the use of a capstone exercise, which could be applied by civic educators. Topics for future research of the sort undertaken here include both national and international comparative studies of entry-level military training, the effects of combat on veterans' civic dispositions and whether and how community involvement can aid in veterans' transitions to civilian life.Ph. D.