Dissertations / Theses on the topic 'Creative voice'
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Ferrell, Rosemary Kaye. "Voice in Screenwriting: Discovering/Recovering an Australian Voice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/2004.
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This creative practice research explores the concept of an identifiable screenwriter’s voice from the perspective of screenwriting as craft, proposing that voice can be understood and described based on its particular characteristics. Voice is understood to be the authorial presence of the screenwriter, whose mind shapes every aspect of the text. This presence is inscribed in the text through the many choices the screenwriter makes. More than this, the research argues that the choices made inflect the text with a cultural-national worldview. This occurs because of the close association between voice and personal (including cultural/national) identity, and because of the power of textual elements to signify broader concepts, ideas and phenomena belonging to the actual world.
The thesis includes an original feature film screenplay evidencing a particular Australian voice, and an exegesis which describes voice and national inflection more fully. The practice research began with the interrogation of voice in a previously-existing screenplay which, though an original work written by an Australian screenwriter – myself – was described as having an American voice. Voice and its mechanisms were then further investigated through the practice of writing the original screenplay, Calico Dreams. Theories of voice from within literary theory, and the concept of mind-reading, from cognitive literary theory, acted as departure points in understanding voice in screenwriting. Through such understanding a conceptual framework which can assist practitioners and others to locate aspects of voice within a screenplay, was designed. This framework is a major research outcome and its use is illustrated through the description of voice in the screenplay, Calico Dreams.
The research found that screenwriter’s voice serves to unify and cohere the screenplay text as an aesthetic whole through its stylistic continuities and particularities. Through the voice, the screenwriter also defines many of the attributes and characteristics of the film-to-be. A theory of screenwriter’s voice significantly shifts the theoretical landscape for screenwriting at a time when an emerging discourse of screenwriting is developing which can enrich understandings of the relationship between the screenplay and its film.
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Hancox, Donna Maree. "Two voices : the marginalised body as a voice & Imperfect Offerings a novel." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/31849/1/Donna_Hancox_Thesis.pdf.
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This thesis investigates the phenomenon of self-harm as a form of political protest using two different, but complementary, methods of inquiry: a theoretical research project and a novel. Through these two approaches, to the same research problem, I examine how we can re-position the body that self-harms in political protest from weapon to voice; and in doing so find a path towards ethical and equitable dialogue between marginalised and mainstream communities. The theoretical, or academic, portion of the thesis examines self-harm as protest, positing these acts as a form of tactical selfharm, and acknowledge its emergence as a voice for the otherwise silenced in the public sphere. Through the use of phenomenology and feminist theory I examine the body as site for political agency, the circumstances which surround the use of the body for protest, and the reaction to tactical self-harm by the individual and the state. Using Bakhtin’s concept of dialogism, and the dialogic space I propose that by ‘hearing’ the body engaged in tactical selfharm we come closer to entering into an ethical dialogue with the otherwise silenced in our communities (locally, nationally and globally). The novel, Imperfect Offerings, explores these ideas in a fictional world, and allows me to put faces, names and lives to those who are compelled to harm their bodies to be heard. Also using Bakhtin’s framework I encourage a dialogue between the critical and creative parts of the thesis, challenging the traditional paradigm of creative PhD projects as creative work and exegesis.
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Fisk, Brent Allen. "History Has the Voice of a Bird-Filled Tree." TopSCHOLAR®, 2013. http://digitalcommons.wku.edu/theses/1291.
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This creative thesis, History Has the Voice of a Bird-Filled Tree, is a collection of poems about the communal, familial, and physical landscapes we grow up in. The manuscript explores the accidental body of knowledge we accumulate over a lifetime: those lessons we do not actively seek to learn and that no one sets out to teach us, but that mark us, and make us who we are. The landscape of this manuscript is not an exact replication of an existing town or existing family, but what the poet Richard Hugo refers to as a “triggering town.” This removal frees the internal biographer and historian to write openly about experiences without guilt or sanitization of a symbolic past. The narrative is mostly true with just enough fibbery to protect both the innocent and guilty alike.
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Williams, Evan. "The Leaving Symphony| Musicality and Voice in the Poetry of Trauma, Addiction, and Redemption." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10785346.
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The Leaving Symphony: Musicality and Voice in the Poetry of Trauma, Addiction, and Redemption represents two years of my critical and creative writing while attending the California State University, Long Beach M.F.A. in Creative Writing program. Evident in the poems of this manuscript, my major themes include trauma, addiction, and personal redemption, all through the intimate lens of my family and myself. Crucial to my writing is the evolution of those struggles, seen in the organization of the poems in this thesis. The methodological essay at the beginning of this project details my process and influences, followed by a full-length collection of poetry. My poetry is highly musical thanks to the inspiration of both my musician father and several writers, such as Sylvia Plath and Dean Young; my work also possesses a distinctive voice that took me decades to find, especially as a poet. This thesis documents that growth and eventual catharsis in writing.
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Epple, Dorothea Marie. "The creative inner voice a study of the Intensive Journal (TM) /." Click here for text online. The Institute of Clinical Social Work Dissertations website, 2002. http://www.icsw.edu/_dissertations/epple_2003.pdf.
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Dissertation (Ph.D.) -- The Institute for Clinical Social Work, 2002.A dissertation submitted to the faculty of the Institute of Clinical Social Work in partial fulfillment for the degree of Doctor of Philosophy.
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Scott, Natalie. "Screams underwater : submerging the authorial voice : a polyphonic approach to retelling the known narrative in Berth ; Voices of the Titanic : a poetry collection by Natalie Scott." Thesis, University of Sunderland, 2015. http://sure.sunderland.ac.uk/6582/.
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This PhD thesis is comprised of my poetry collection: Berth - Voices of the Titanic (Bradshaw Books, 2012) and a critical commentary which discusses the collection both in printed and performed contexts. Berth is a collection of fifty poems taking a range of forms, including dramatic monologue, and found, sound and concrete poems. It was published and performed to coincide with the centenary of the Titanic disaster on April 14th 2012. The collection encourages an audience to see and hear Titanic in a distinctive way, through the poetic voices of actual shipyard workers, passengers, crew, animals, objects, even those of the iceberg and ship herself. Though extensively researched, it is not intended to be a solely factual account of Titanic’s life and death but a voiced exploration of the what-ifs, ironies, humour and hearsay, as well as painful truths, presented from the imagined perspective of those directly and indirectly linked to the disaster. The critical commentary introduces the notion of factional poetic storytelling and, supported by Julia Kristeva’s definition of intertextuality, considers the extent to which Berth is an intertext. Drawing on both literary works and critical theory, it considers the dominant, objective, authorial voice as a way of closing a text, and contrastingly presents polyphony, with its multiple viewpoints, as a way of opening up a text, in the process of moving towards retelling a well-known story in a distinctive way. I use Plato’s concept of mimēsis to make connections between polyphony and intertextuality and my creative work is then contextualised in terms of other intertexts published as creative responses to historical events, culminating in the story of the Titanic. I show how Berth is distinctive in its way of telling. Supported by reader-response theories, I discuss the reader’s role in shaping a text and participating in the process of its reception as an open, dialogic work. Illustrated by examples from canonical poems, the commentary next defines monophony in order to draw out the characteristics of polyphony and its relationship with Bakhtin’s concepts of dialogism, addressivity, defamiliarization, collage and the carnival. Exemplified by Berth, the ensuing exploration of Bakhtinian thought shows that the concept of dialogism, which he applies exclusively to the novel, is readily applicable both to a narrative poetry collection that is novelistic but also to standalone poems. The commentary then makes connections between polyphony and performance poetry - specifically the dramatic monologue - and other open forms influenced by British and American modernist poetic techniques. I use examples from British Poetry Revival works to characterise the forms of found, sound and concrete poem. Robert Sheppard’s critical notion of the ‘saying’ and the ‘said’ (informed by Mikhail Bakhtin’s dialogism and Umberto Eco’s notion of the ‘open work’) helps me to explore how such forms influenced my own creative practice - in the printed and staged versions of Berth - and fulfilled the principal aim of the work: to use polyphonic methods in a way that contributes a voice distinctive from the existing works on the subject of the Titanic. In conclusion, I argue that polyphony is a significant device for poetry that aims to present a fresh perspective on a story which has been told many times before.
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Dyer, Emily L. "Sugar Nine: A Creative thesis." BYU ScholarsArchive, 2008. https://scholarsarchive.byu.edu/etd/1342.
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This collection of short stories explores the different ways women tolerate violence in exchange for some form of validation. The narratives focus on women and the reverberations of small moments which carry violent mass. While the violence occasionally includes physical elements, the collection is more concerned with the ways women accept emotional and psychological violence—specifically from men. Themes, motifs and symbols from the Clytie-Helios myth are threaded throughout the collection as well as a concern for space and touch, art and the creation of art, silence and voice. All of these elements involve control as the women characters in these stories struggle to resist their own objectification. A critical introduction which explains how form and language amplify story precedes the collection.
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Couzins, Richard. "Inside out : the under-theorised object and material voice in fine art practice." Thesis, University of Brighton, 2014. https://research.brighton.ac.uk/en/studentTheses/43e6e0bf-6b83-4b78-a232-0dbbed6c3c41.
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The human voice is significant to culture and communication and its agency differs across the heterogeneous discourses within which it is listened to and produced. This thesis assesses what the voice does in Fine Art practice where it is under-theorised but often used by artists. The research questions are: how does a voice register as a material and an object (physical material presence), rather than equating only to the subject who produces it? And how can an artist produce a direct address with their voice? The thesis examines the nature of direct vocal address in Fine Art practice with the installation Trialogue (2013) and with the discussion of case studies that privilege the voice. Trialogue uses three screens to emphasise the action of voices and vocal genres. Four single screen video works are played over three screens during which the audience hears a jazz singer, children and my voice. We are familiar with our voices presenting our selves, but in Fine Art practice the voice is reproduced, and behaves as a material and object. Artworks and theories divide around the reduction and parameters of voice as production of a human subject and as an object in the material world. Therefore the voice is described with a combination of phenomenological, psychoanalytical and cultural theories. The thesis critically examines theories of Dolar (2006), Ihde (2007), Sperber and Wilson (1995), and Bakhtin (1986) in relation to the phenomenon of the voice in Fine Art practice. The thesis describes how the genre, physical space, consequences of reproduction, and action of listening are emphasised by critical Fine Art practice. Bakhtin describes all utterance as having a genre, and phenomenological theories relate voice to perceptual hierarchy and its relationship with the visual realm. The voice is described as a partial object in psychoanalytical theory. The idea of palimpsest is used as a partial space to situate the object voice. The chapters theorise the voice in Fine Art practice as: object and reproduction; the relationship voices have with images in moving image art practice; and the voice and self.
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Williams, Denise Rochelle. "The vagaries of voice in the composing process." CSUSB ScholarWorks, 1989. https://scholarworks.lib.csusb.edu/etd-project/445.
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Blankenship, Angella Sorokina Getsi Lucia Cordell. "Voice beyond self a theory and pedagogy of polyphonic expression in writing /." Normal, Ill. Illinois State University, 1998. http://wwwlib.umi.com/cr/ilstu/fullcit?p9924342.
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Thesis (Ph. D.)--Illinois State University, 1998.Title from title page screen, viewed July 12, 2006. Dissertation Committee: Lucia C. Getsi (chair), James Elledge, William Woodson. Includes bibliographical references (leaves 196-200) and abstract. Also available in print.
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Harris, Adenike A. "Restorative Notions: Regaining My Voice, Regaining My Father: A Creative Womanist Approach to Healing from Sexual Abuse." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/wsi_theses/23.
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This creative thesis illustrates how the writer initiated a ‘call-and-response’ dialogue as a healing strategy to heal her relationship with her non-abusive biological father after revealing to him that her stepfather had sexually abused her from ages 14 to 22. This memoir both contributes to the field of Women’s Studies and provides an example that other sexual abuse survivors can follow to heal their intimate relationships.
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Heldring, Anna Elisabeth. "Balancing child and adult voice in fictional and non-fiction memoir (critical component) ; The ambassador's wife (creative component)." Thesis, Bath Spa University, 2010. http://researchspace.bathspa.ac.uk/1486/.
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Blackbird, Katherine. "The Zeroes Taught Us Phosphorus: Trauma, Silence, and the Recovery of Voice through the practice of creative writing." Kent State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=kent1277754144.
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Ocampo, Maritza. "On Bike Riding and Writing." CSUSB ScholarWorks, 2015. https://scholarworks.lib.csusb.edu/etd/213.
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What follows are the motivations and desires behind my writing and why I chose to pursue writing in the first place. This paper not only gives context to my creative stories, but it also functions as a self-portrait, a glimpse of the writer behind the text. In this paper, I speak of my experiences of growing up in a marginalized group, of being a daughter of Mexican immigrants and a member of the working class. I explain how those experiences helped shape the content and voice that I portray in my collection of short stories called, Somewhere Between Here and There. This collection of short stories emerged at the start of my graduate program but it was a project that was slowly accumulating over the years. The collection centers on the invisibility of a Latino community and dramatizes the challenges that they face as individuals and as a group. Many of my characters face challenges both at an individual and institutional level that causes fragmentation. In the end, each character tries to cope with their situation while trying to find and discover a sense of self and belonging in the world.
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Shajahan, Naomi Sharin. "Tibetan Buddhism and Feminism in an In-between Space: A Creative-Critical Autoethnography in a Non-Western Woman’s Voice." Thesis, Shajahan Naomi, Sharin (2017) Tibetan Buddhism and Feminism in an In-between Space: A Creative-Critical Autoethnography in a Non-Western Woman’s Voice. PhD thesis, Murdoch University, 2017. https://researchrepository.murdoch.edu.au/id/eprint/40739/.
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As a religion and spiritual practice, Tibetan Buddhism is focused on training the mind to achieve inner tranquility, peace, and compassion. On the other hand, the feminist goal is to liberate women from patriarchal oppression. The possibility for exploring new feminist experiences through Tibetan Buddhist practice calls for a deeper conversation between feminism and Tibetan Buddhism on the basis of real life experiences, heterogeneity, particularity, differences and human conditions. The existing scholarly conversation between feminism and Tibetan Buddhism tends to be grounded in the perspective of Western women. Non-Western women like me have remained almost silent in expressing their reality through feminist-Buddhist lenses. My thesis presents the voice, representations, and experience of a non-Western woman through a creative-critical autoethnography. As a non-Western woman I found that without an epistemic disobedience to colonial aspects of knowledge I cannot speak in the academic area where Eurocentric and masculine approaches dominate in producing knowledge. Taking an arts-based and bricolage approach, I have expressed an epistemic disobedience to this hegemony through performative uses of images, story telling, archetypes, “fictocriticism”, and performative writing. Through this alternative paths, I explored how Tibetan Buddhism and feminism interact in an in-between space where the categories, binaries, cultural dichotomy and identities become fluid and non-dual. This is a space of multiplicity and ambivalence, a space that cannot be completely captured or defined; but can be demonstrated, articulated and interpreted. This in-between space gives birth to more open-ended questions, thoughts and possibilities for an enriched ongoing conversation between feminism and Tibetan Buddhism.
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Aguilar, Gina Maria Monge. "Princípios para o treinamento vocal do ator: vozes que chamam, perguntam e dialogam." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-05072009-235136/.
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Esta pesquisa tem como objetivo formular, descrever e compreender princípios gerais para o treinamento vocal do ator. Para chegar a estes princípios, partiu-se de experiências, tanto na Costa Rica quanto atualmente no Brasil, do contato com o trabalho de Roy Hart, por meio de Richard Armstrong, e das pesquisas feitas com sete especialistas e professores de voz brasileiros. Após revisão bibliográfica sobre o tema, foram feitas entrevistas individuais com os sete pesquisadores escolhidos, participação em aulas e treinamentos, assim como assistência a espetáculos apresentados por eles. Finalmente, a realização de um processo de treinamento-encenação completou as ferramentas para a postulação dos princípios. Eles confluem em dois pontos fundamentais: voz é energia, que pode ser transformada, por meio do treino-criativo, em poética teatral.This research aims to formulate, describe and understand the general principles for the actors vocal training. In order to reach such goals, I started up from my own experiences not only in Costa Rica but also in Brazil nowadays; from the contact I had with Roy Harts work, through Richard Armstrong and through the research done with seven Brazilian voice specialists and researchers. After a bibliographic review on the theme, several interviews have been done, as well as attendance to drama performances performed by them. Finally, the achieving of a training-creation process completed the tools to postulate such principles. They converge into two fundamental points; first, voice is energy; second, it can be transformed through creativetraining in theater poetry.
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Donati, Jane. "An investigation into the effects of modelling and co-construction upon year 2 pupils’ creative development of their own writing voice." Thesis, Open University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.439377.
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Russell, Josephine Ann. "'A memorable voice' : intertextual approaches to reading diversionary strategies, and the construction of a creative persona in the work of Stevie Smith." Thesis, Royal Holloway, University of London, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428706.
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Rutter, John. "The only voice : a creative and critical exploration of the modern short story in context, and the emergence of the author as an essential force." Thesis, Edge Hill University, 2017. http://repository.edgehill.ac.uk/9963/.
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Vasconcelos, Gisele Soares de. "Ator-contador: a voz que canta, fala e conta nos espetáculos do Grupo Xama Teatro." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-22092016-143149/.
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O trabalho analisa os processos criativos da escritura do texto e escritura do corpo na rapsódia Minha Mãe Preta e nos espetáculos A Carroça é Nossa, A Besta Fera e As Três Fiandeiras, do grupo Xama Teatro. O grupo, com sede em São Luís, Maranhão, desenvolve seus espetáculos tendo como ponto de partida a arte de narrar. Nas produções artísticas do grupo ganha destaque a figura do ator-contador: aquele que canta, conta e fala, que reveza o narrador e a personagem, a primeira e a terceira pessoa. O ator-contador constrói seus passos a partir dos rastros dos rapsodos e griots, do sujeito épico, dos brincantes e narradores anônimos. Com o pé fincado na memória, na tradição e na oralidade, ele fala de si e também fala do outro; com o poder da palavra mescla histórias reais e ficcionais. Para a manifestação da figura do ator-contador são necessárias algumas condições. Entre elas: o uso de uma voz que evoca elementos ausentes; o pensamento do neutro que produz o espaçamento entre a fala e a ação; a noção do espectador como público-ouvinte; o uso de uma fala direta para o público; a criação autoral de obras com textos de vocação oral; a escrita de uma dramaturgia híbrida que mescla os modos épico, lírico e dramático; a inserção do dramaturgo-contador no processo de criação, de forma conjugada com os atores-contadores.This research paper analyzes the creative processes of both text and body writings of the rhapsody Minha Mãe Preta (My Black Mother), and the presentations A Carroça é Nossa (The Cartwheel is Ours), A Besta Fera (The Stupid Beast), and As Três Fiandeiras (The Three Spinners). The Xama Teatro Group, established in the city of São Luís, in the State of Maranhão, develops its presentations having the art of narrating as its starting point. In its artistic productions, the character of the actor-storyteller stands out: he is the one that sings, tells stories and talks, switching from the persona to the narrator, from the first to the third person. The actor-storyteller builds up his steps as from the path of rapsodos and griots, from the epic subject, from the brincantes (players), and from the anonym narrators. With his foot planted in memory, tradition and orality, he speaks of himself and also speaks of others, combining both real and fictional stories. In order to manifest the character of the actor-storyteller, some settings are necessary. Among them: the use of a voice that evokes missing elements; the neutral thought that produces the spacing between speech and action; the notion of the observer being the public listener; the use of a direct speech to the public; the authorial creation of works with oral vocation texts; the writing of a hybrid dramaturgy that mixes the epic, lyric and dramatic modes; the insertion of the playwright-storyteller in the creation process, in a conjugated way with actors-storytellers.
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Toth, A. M. "A contemporary voice for the female protagonist : an exploration of the collaborative creative process : the development and synthesis of vocal techniques in the realisation of premiere music performances." Thesis, University of Salford, 2016. http://usir.salford.ac.uk/37855/.
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It is vital to increase the body of work where the female character acts as protagonist, rather than the foil for the masculine “norm” (McClary 1991). It is the intention of this candidature to present performances of several new music works that focus on the experience of the female character and voice through the synthesis of contemporary vocal and folk music practice, as well as the embodiment of the female protagonist on stage. The core of the presented thesis consists of a portfolio of a number of contrasting works that feature the female protagonist exploring her experience in their own way; themes include vocalised emotion, the presentation of the female body and character, gender stereotypes and archetypes, as well as roles, relationships and power. It researches a variety of collaborative composer/librettist/performer methodologies for the development of fully-human female characters onstage, which make use of a range of acting, dance and voice qualities. These vocal qualities and techniques are developed, hybridised and re-contextualised from a broad range of styles to include Classical / Contemporary, chest/Folk-style singing / vocalisations (Greek Amannes and Miroloi and Hungarian folk singing), and build upon Extended Vocal Techniques developed by various practitioners. The project draws upon fifteen years of experience as a professional singer-actor-dancer performing in a wealth of exciting projects as commissioner and collaborator using a wide range of vocal styles from Opera, Contemporary Classical, to Folk, Jazz and other Popular styles. My vision, with musical, textual, and performative input, guides collaborators in a joint exploration; stimuli include a variety of musical forms / structures, vocal techniques and textual treatment of themes, as well as visual stimuli and performance elements, like costume, set, and properties. The portfolio also includes existing works that are collaborative in the rehearsal process, with varying degrees of input from collaborators. The work takes the perspective of the performer as co-creator of on-stage female characters, using libretto, music and my own responses to theatrical elements. The creation on stage of a female protagonist must involve the personal emotional connection of the performer.
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McBride-Harris, Jenna Lynn. "Interdisciplinary Transfer and Cultivation: How Vocal, Writing, and Visual Arts Can Inform Horn Practice and Performance." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492701963548168.
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Fox, Amberly. "Carved." ScholarWorks@UNO, 2009. http://scholarworks.uno.edu/td/1006.
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The poems in Carved take the reader on a journey of self-discovery and explore the inequalities of human relationships: between being silent and the discovery of one's voice. The collection also addresses humanity's destructive imprint and the resiliency of nature in reclaiming what humanity sought to exploit and conquer. The poems expose the ironies in how we imagine things to be, compared to their reality. Some of the poems also draw parallels between the process of going underground and that of being reborn, as well as the spiritual experience of caving.
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Wurth-Grise, Rosemarie. "Voices I Have Heard." TopSCHOLAR®, 2007. http://digitalcommons.wku.edu/theses/389.
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The poems in this thesis are an exploration of how two worlds can exist at once. The first world is the physical world as we perceive it through our senses and experience it through living. It is a cyclical world that begins with childhood, and moves toward adulthood, parenthood and death. In this world we go about the act of living. Yet it is in the second world, a more metaphysical one, that we are most alive. We often gain our knowledge of this world through observing and experiencing the natural world. It is a place in which we discover our true selves. This world exists like the mythical ethers; its boundaries are unmarked and the journey takes us into places of light and dark, of sound and silence. It is the coexistence of these two worlds that I attempt to explore in my writing. To access this metaphysical world requires a certain sense of surrender. This can be difficult since it seems to be our species' natural tendency to try to tame or control our environment. Therefore, we must not assume the attitude of a conqueror of nature. We must assume instead the role as a student of nature. That means being truly attentive, finding stillness and quiet, and being willing to listen to the world around us. Secrets can be told in bird song or in the shadows of oaks. My love for nature and writing began at an early age. As a teen I fell in love with poetry. I discovered the poetry of the Victorians, Pre-Raphaelites and Romantics in old anthologies stored away in my grandparent's attic. In these dusty bound volumes with their frayed covers, I discovered the lyrical language of Browning, Tennyson, and Keats. Delving into them instilled in me the appreciation for the beauty of words playing upon each other. In later years, teachers and mentors, like Peggy and Frank Steele, introduced me to the poetry of William Stafford, Ted Kooser, and William Carlos Williams. I was drawn to the straightforward economical use of language by Stafford. His style explored the inner and outer world in language accessible to the average reader. Kooser also used accessible language to describe the human condition. His portraits and narratives instilled validity to my own sense of narrative found in many of my poems. Finally, my poet husband, Dorsey Grice, introduced me to the poetry of Mary Oliver. Her incredible attunement to and observations of nature left me humbled. Somewhere between those early discoveries of the traditional poetic canon and my studies of the modern/contemporary poets I have found my own voice emerge. The blending of the periods has created in me the tendency to write with an economy of language, combined with what I hope are lyrical, melodic lines that are imbued with a subtle sense of rhythm. In writing this creative thesis I have divided the poems into two sections. In general they explore how we relate within physical, social and spiritual contexts. The first section is entitled "A Woman You Might Know" and deals more with the human experience of raising children, finding and losing love, grieving for the ill and dying, and searching for wholeness. The second section is called "The Sound of Trees" and deals with observations within the natural world. It includes poems dealing with the changing of the seasons, farm life, observing wildlife, and the spiritual world. Although each is divided according to a general topic, they both hopefully convey the presence of a dual world in which we live every day and are occasionally allowed a glimpse into. It's a place where the voices of our ancestors gather round us to share their stories and teach us something of value about ourselves.
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King, Kate. "Creating Voice in School Nurses through Increasing Self-efficacy." Otterbein University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=otbn1596205414668537.
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Garvey, Brian Vincent. "Creating space for seldom heard voices." Thesis, City University London, 2014. http://openaccess.city.ac.uk/6451/.
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Research exploring help-seeking for physical health and psychological difficulties is a well-established field. Historically, much of this research has focused on psychological and structural barriers to seeking help. In recent times, a new strand of help-seeking research has emerged that explores how some men successfully manage to seek help. Many of these studies have been informed by social constructionist and feminist perspectives, which view masculinities as multiple and enacted through a plethora of situations and interactions. This paper presents a critical review of these new developments in help-seeking research, centred around four main themes related to the psychological and social processes involved in how men sought help, to the resources they drew on and conflicts they experienced. These themes have been labelled: having ‘permission’, striving for a ‘manly’ expression of distress, reframing help-seeking and drawing upon experiences of ‘otherness’. While recognising the challenges of seeking help, it is hoped that by examining how men can manage to overcome these difficulties, this paper can prompt practitioners to reflect further on how to engage with men and masculinities.
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Milfull, Mostyn Timothy. "Writing about risky relatives and what might have been : the craft of historiographic metafiction." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/51203/1/Tim_Milfull_Vol.1_Exegesis.pdf.
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This practice-based research project consists of a 33,000-word novella, "Folly", and a 50,000-word exegesis that examines the principles of historiographic metafiction (HMF), the recontextualisation of historical figures and scenarios, and other narratological concepts that inform my creative practice. As an emerging sub-genre of historical fiction, HMF is one aspect of a national and international discourse about historical fiction in the fields of literature, history, and politics. Leading theorists discussed below include Linda Hutcheon and Ansgar Nünning, along with the recent critically-acclaimed work of contemporary Australian writers, Richard Flanagan, Kate Grenville, and Louis Nowra. "Folly" traces a number of periods in the lives of fictional versions of the researcher and his eighteenthcentury Irish relative, and experiments with concepts of historiographic metafiction, the recontextualisation of historical figures and scenarios, and the act of narratorial manipulation, specifically focalisation, voice, and point of view. The key findings of this research include: identifying the principles and ideas that support writing work of historiographic metafiction; a determination as to the value of recontextualisation of historical figures and scenarios, and narratorial manipulation, in the writing of historiographic metafiction; an account of the challenges facing an emerging writer of historiographic metafiction, and their resulting solutions (where these could be established); and, finally, some possible directions for future research.
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Rabie-Boshoff, Annelien. "Seeing God’s voice in creation : a visio-spatial interpretation of Genesis 1." Thesis, University of Pretoria, 2016. http://hdl.handle.net/2263/61551.
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Contemporary Christians, evangelicals in particular, find it problematic to formulate
and understand the relationship between the Christian faith tradition and natural
science, with the result that they struggle in their understanding of the creation story
in Genesis 1. The purpose of this study was to bring Christian theology and the
science of linguistics into dialogue with each other in an attempt to understand the
biblical creation story in modern-day terms. The motivation for the study is based on
the belief and understanding that within the paradigm of the dialogue model
disciplines other than theology, like linguistics, can bring insights to the world of the
Bible and vice versa. The hypothesis for this thesis is based on the presupposition
that God’s voice, believed to be inaudible sacred sound as Pretorius (2011:1-7)
envisions it, can indeed be seen by humans as it becomes visible in creation, and
interpreted in a way similar to the way deaf people communicate. This interpretation
finds support from insights gained from the world of the Deaf and the basic principles
of ‘Sign’, the language used to communicate within the deaf community. Two
significant characteristics of Sign that strongly resonate with the picture of the natural
world emerging from Genesis 1, are its unique and complex use of threedimensional
space, and its rich modulation in time. This is explained in eloquent
terms by renowned neurologist Oliver Sacks who says that, “…what occurs linearly,
sequentially, temporally in speech, becomes simultaneous, concurrent, multileveled
in Sign… and what looks so simple is extraordinarily complex and consists of
innumerable spatial patterns nested, three-dimensionally, in each other” (Sacks
1991:88). These insights were fundamental in the development of the Divine Sign
Language Model (DSL), which has proven to be a fruitful model to use in an effort to
understand what it could possibly mean when the Bible talks of ‘God speaking’ or of
‘God’s voice’. Through the application of the DSL Model, ten basic image-concepts
have been identified in Genesis 1, which form the foundation to a relational theology
of Genesis 1.Thesis (PhD)--University of Pretoria, 2016.
Dogmatics and Christian Ethics
PhD
Unrestricted
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Wehner, Mary B. "Women experiencing ministerial burnout becoming a "new creation" through finding one's voice /." Theological Research Exchange Network (TREN), 1992. http://www.tren.com.
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Thesis (D. Min.)--Colgate Rochester Divinity School/Bexley Hall/Crozer Theological Seminary in collaboration with St. Bernard's Institute, 1992.Includes bibliographical references (leaves 160-169).
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Kight, William D., and Robert E. Pfister. "APPLICATION OF EMERGING COMMUNICATION TECHNOLOGIES TO THE CREATION OF A "VIRTUAL RANGE"." International Foundation for Telemetering, 1993. http://hdl.handle.net/10150/608860.
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International Telemetering Conference Proceedings / October 25-28, 1993 / Riviera Hotel and Convention Center, Las Vegas, NevadaThis paper addresses the creation of a large virtual-range environment whereby multiple, geographically dispersed, test ranges may operate in concert to support test operations. The most significant benefit of the virtual range environment is the time-sharing of costly processing resources. Other benefits include improved reliability and responsiveness of inter-range data transfer. This paper will focus on existing and near-term technology that may be applied to create a virtual-range and will address the technological and economic advantages and disadvantages of TDM vs. ATM approaches.
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Rosett, Isabelle George. "Voices of Ancient Women: Stories and Essays on Persephone and Medusa." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1008.
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This thesis combines art historical analysis and creative writing in a collection of essays and short stories centered on the myths of Persephone and Medusa. Ancient art, text, and context is considered in the essays, while the stories approach these subjects on a more contemporary and personal level.
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Starcovic, Philip J. "Using voice over internet protocol to create true end-to-end security." Thesis, Monterey, California. Naval Postgraduate School, 2011. http://hdl.handle.net/10945/5540.
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Approved for public release; distribution is unlimited.In 2010, there were approximately 260,000 classified messages released to the general public via the website Wikileaks. The classified information was gathered by a "trusted" military member who had the right level of clearance to view the documents in question, but did not have a need-to-know. This easily illustrates the flaw in trusted enclaves and computing bases that secure the data lower than Layer 7 of the OSI Reference Model. Once a spy, hacker, or "trusted" member is inside the enclave, they have access to any and all information they wish to see. The goal of this thesis is to convey the need for security solutions that are developed at layer 7 of the OSI Reference Model. VOIP/SIP clients that use TLS and SRTP in conjunction with PKI will show that there are already solutions that exist at Layer 7. Additionally, clients that take advantage of ZRTP will provide the best examples of protecting data instead of just an infrastructure. Because only small amounts of source code will see unprotected data, thorough analysis of this code is achievable mitigating security vulnerabilities within the code.
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McGrath, Fiona. "The new women writers : creating feminist literary voices and identities." Thesis, Ulster University, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.706465.
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This thesis examines the work of a group of prolific New Woman writers of the fin-de-siecle. Mona Caird, George Egerton, Charlotte Perkins Gilman, Sarah Grand, Menie Muriel Dowie and Netta Syrett made a dramatic impact on their Anglo-American reading publics, both for their daring fiction and for their non-fiction prose, which rased issues of eugenics, education, employment, gender roles, marriage and female sexuality. Yet these prominent women were all but forgotten by the early decades of the twentieth century. Such rapid demise of New Woman fiction is often taken as evidence of its aesthetic limitations: for some critics this writing, while important for breaking a literary silence, is ultimately didactic andmonological, with only one story to tell - female oppression. A closer reading of these texts, however, reveals a number of complex narrative strategies at work, some of which participate in the non-verbal or pre-verbal aspects of communication. Specifically, the semiotic theory of Julia Kristeva can help to deepen the critical conversation about these writers and illuminate the tensions involved in identity formation. In the Introduction I pay attention to the notion of Language as a gendered construct, highlighting the difficulty facing women writers in the construction o f a female literary identity and voice. Chapters One to Four examine the musicality of language; the hysterical mother’s voice; fashion as language; gardens and wild spaces as discourse. Chapter Five analyses how collective female experiences and speech manifest in New Woman narratives as a dialogic semi-autobiographical voice.
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GONCALVES, LUCIANA AFFONSO. "A CRY NAMED DESIRE: THE VOICE IN THE POLYPHONIC CREATION OF MARIO DE ANDRADE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2006. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=9067@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
Esta tese é um desdobramento e aprofundamento da investigação sobre a voz como objeto da pulsão, tema do meu livro A voz na psicanálise- Um sopro de vida. O presente trabalho constata que a psicanálise, a literatura e a arte trágica são instrumentos de interpretação das mesmas questões fundamentais da condição humana e busca depreender que os conceitos de voz, tragédia, polifonia, carnavalização e transfiguração podem ser articulados, principalmente a partir das obras de Freud, Nietzsche e Bakhtin. O resultado constitui uma reflexão sobre o desejo e a criação literária na Modernidade a partir do dialogismo de vários autores. Enquanto produção artística polifônica Amar, verbo intransitivo, obra de Mário de Andrade, foi o instrumento de leitura das contraditórias inscrições do desejo na subjetividade moderna.
This dissertation is an unfolding and deepening of the investigation on the voice as an object of drive, theme of my book The Voice in Psychoanalysis: A Breath of Life. The present paper proposes that psychoanalysis, literature and the tragic art are instruments of interpretation of the human condition, and tries to infer that the concepts of voice, tragedy, polyphony, carnivalisation, and transfiguration can be articulated, especially from the writings of Freud, Nietzsche, and Bákhtin. The outcome represents a reflection on desire and the literary creation of modern times from the art of dialogism of several authors. As a literary polyphonic production, Love, Intransitive Verb, by Mario de Andrade, was the instrument of reading of the contradictory inscriptions of desire in modern subjectivity.
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Kartalidis, Nikolaos. "Speech recognition in construction equipment : Creating a voice assistant for an autonomous wheel loader." Thesis, Uppsala universitet, Institutionen för informatik och media, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-356208.
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This thesis sets out to explore possible applications of speech recognition in construction equipment and autonomous machines. Advancements in autonomous vehicle technology mean that soon, vehicles like wheel loaders will be able perform tasks without human operators. Those vehicles still require a method of interaction with humans and recent improvements in speech recognition mean that it is possible for a natural voice-based interface to be used. The research question of this thesis is the extent to which voice control can replace hand-operated controls in an intelligent autonomous machine. Interviews and observation sessions took place in order to identify the requirements such a speech interface would have to fulfill. Next, a design process took place in order to build a prototype of such system, followed by test sessions to evaluate it. The prototype demonstrated positive attributes, with great learnability and ease of operation, but speech recognition errors meant low performance, and overall user satisfaction.Detta examensarbete ämnar utforska möjliga tillämpningar av taligenkänning i byggutrustning samt självstyrande fordon. Framsteg i självstyrande fordonsteknologi visar att fordon som hjullastare kommer kunna utföra uppgifter själv, utan operatörer, inom kort framtid. I nuläget krävs ännu människor för att interagera med maskinen. Men nya framsteg i röststyrning visar att röstbaserade gränssnitt kan tillämpas. Forskningsfrågan i detta arbete är: Till vilken utsträckning kan röststyrning ersätta handmanövrerade instrument i ett intelligent självstyrt fordon? En etnografisk forskning ägde rum för att identifiera de krav som ett sådant gränssnitt skulle behöva uppfylla. En designprocess ägde rum för att utveckla en prototyp för ett sådant system. Prototypen utvärderades genom tester och påvisade positiva egenskaper. Den visade sig vara både lätt att lära samt enkel vid användning. Teknologin i taligenkänning påvisade dock brister genom dålig prestanda samt låg användarnöjdhet.
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Epp, Connie Marleen. "Creating space for dialogue, hearing the voices of sexually exploited youth." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ49203.pdf.
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Vanterpool, Irad Jr. "The Process Of Developing My Voice As A Playwright: Based On The Creation Of An Original Play." Miami University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=miami1123220323.
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Espedal, Ingvill. "Meetings between night and day : Creating a collaborative music performance for children aged 0–3 years." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1902.
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Møter mellom natt og dag (Meetings between night and day) was my Professional Integration Project (PIP). It was a musical collaborative performance implemented in three kindergartens in the municipality of Fjell, outside of Bergen on the west coast of Norway, between March 17th and March 19th 2015. The target audience for the performance was children aged three years and under. The performance consisted of 10 folk songs from the countries of Norway, Sweden and Malawi. In addition I employed voice improvisation accompanied by small instruments such as djembe, an mbira, a glockenspiel and a rain stick. The performance integrated a visual presentation of pictures taken by photographer Ingvild Festervoll Melien. In the findings I present my relation to the audience, the roles of the adults in the kindergarten, the difference between being a musician and not a teacher in the audience setting, my aspects of time and digital media, how participation and interaction were integrated in the performance, and how the collaboration with photographer Melien functioned, as well as describe my own development in regards to new acquired skills and experiences. The findings are presented through my own reflection, and through discussions where I point to literature concerning perspectives on children and arts. My conclusion shows that I have managed to create a successful musical collaboration performance in terms of developing my own artistry and engaging with the target audience of children between 0-3 years, in a performance especially created and designed for them. It also points to ways for how I can continue developing as an artist making performance for small children, and how these aspects also are transferable to other areas for musical performance.Bilaga: 1 DVD. The artistic practice and performances are documented on a DVD called Professional Integration Project NAIP, Meetings between night and day.
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Mohabier, Icydor Aldale. "Empowering senior females by utilizing each female person's voice to create desired lifestyle options." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-11302006-214055/.
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Thesis (M.A.)--Georgia State University, 2006.Title from title screen. Layli Phillips, committee chair; Elizabeth Beck, Heying Zhan, committee members. Electronic text (91 p.) : digital, PDF file. Description based on contents viewed July 20, 2007. Includes bibliographical references (p. 53-61).
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Razawa, D. M. "Cinematizing genocide : exploring cinematic form and its relationship to the hidden voices of the Kurdish genocide of 1988." Thesis, University of Salford, 2015. http://usir.salford.ac.uk/35931/.
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Throughout the last two decades, the Kurdish genocide of 1988 has become a significant material in a variety of contexts. Kurdish filmmakers have tried to represent the tragedy in various formats. By comparing their work with the unique testimonies of survivors’ that I have collected through many years of work, it is clear that the impact of the genocide has not been dealt with adequately in contemporary Kurdish cinema. The survivors’ voices are still hidden because their feelings, personal lives, and true stories have not been represented in the works of Kurdish filmmakers. This practice-led research study tries to explore this gap through these significant questions: 1. How can the hidden voices of Kurdish victims of the genocide campaign be cinematized in ways that are currently not explored within Kurdish cinema? 2. In what ways can the victims’ oral testimonies be used to develop a cinematic language that can reveal the hidden impact on survivors? By exploring cinematic form and cinematizing the catastrophe’s impact on the survivors of the 1988 Kurdish genocide campaign, this project tries to reveal out hidden perspectives on the entire tragedy. This study aims to find new methods of representing the Kurdish genocide through different experimental film practice exercises, which aim to create opportunities to expand knowledge on the theme of cinematizing the genocide. I also aim to develop a cinematic language that might create new opportunity for Kurdish filmmakers to articulate themselves through the medium, in particular, to formulate a new approach to the concept of transcendental structure. By reflecting on these experimental pieces of work, I will explain how these exercises will shape the final project: two screenplays and visualisation strategies for one scene a short feature film screenplay, in addition to a documentary based on survivors’ testimonies.
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Kaga, Midori Tijen. "Can Refugees Speak? Challenging Power and Creating Space in the Humanitarian System for Refugee Agency and Voice." Thesis, Université d'Ottawa / University of Ottawa, 2021. http://hdl.handle.net/10393/42113.
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Global humanitarian standards increasingly call for greater refugee participation in the decisions that affect refugees’ lives, with the dual aim of developing more equitable relations with refugees (transformative participation) and improving the effectiveness of aid interventions (instrumental participation). However, the limited research available suggests past approaches to refugee participation have habitually failed to meaningfully include refugees in the decision-making processes of humanitarian programs and policies. Rather, humanitarian organizations are criticized for paying lip service to refugee participation while maintaining control over important decisions and, thus, their power in relation to refugees. Though this issue has long been recognized as problematic, few studies have tried to understand and explain why efforts to implement meaningful refugee participation continuously fail to achieve this concept’s empowering and transformative objectives.
The following dissertation responds to this query through an in-depth case study of refugee participation in the context of Beirut, Lebanon with the objective of understanding: how urban refugees are able to participate in decision-making processes of the humanitarian interventions that impact their lives; what barriers exist that impede their participation; why these barriers endure; and what the consequences of a lack of meaningful refugee participation are to refugees and to the wider humanitarian response. I answer these questions by drawing on semi-structured, qualitative interviews with a diverse group of refugee participants (44 interviews) and humanitarian organizational participants (42 interviews). This data is triangulated by comparing and testing the information received from interview participants with each other and against documentary evidence, such as government and NGO policy documents and reports, quantitative studies, newspaper articles, field notes, and academic studies. My analysis is further strengthened by a conceptual framework built on three approaches: the concept of meaningful participation and what this really entails; a Foucauldian concept of power to explain how discourses of power/knowledge shape and produce the relations between refugees and humanitarian organizations; and the Capabilities Approach as a comprehensive framework that can strengthen and guide participatory processes to ensure they maintain their transformative objectives.
Relying on the perspectives of both humanitarian organizations and refugees, my research reveals conflicting understandings of what refugee participation means to these groups. Most humanitarian organizations view their efforts as generally successful and think that they listen to refugees. In contrast, refugees feel that their voices are frequently dismissed or ignored, particularly when their requests fail to match up with what organizations have already decided. This failure to listen to refugees’ voices and what they see as important creates a continuous gap between how humanitarian organizations, the Government of Lebanon, and refugees frame the problems at hand and the solutions to address these problems. In turn, this gap limits the impact of humanitarian efforts that aim to ‘protect’ refugees–in the fullest sense of this word–as refugees’ real needs go unmet. This forces refugees to respond in the few ways open to them, by resisting, manipulating, or avoiding humanitarian interventions all together, further undermining the effectiveness of these interventions.
It is often implicitly assumed that refugee participation will naturally lead to its intended outcomes of greater program effectiveness and more equitable power relations between refugees and humanitarian organizations. However, this thesis demonstrates that neither of these objectives can take place unless refugees have influence and control over the decisions that affect them. Building on these findings, I offer a number of concrete recommendations to address the barriers identified in the research and help make meaningful refugee participation a reality.
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Carpenter, Vicki Marie. "Beyond responsiveness to community: Democratic voice and the creation of an>education alternative (New Zealand)." Thesis, University of Auckland, 2000. http://wwwlib.umi.com/dissertations/fullcit/9979146.
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This thesis examines how, in a rural New Zealand ‘area school’, successful democratic parental and community voice was able to bring about the creation of an education alternative. While the parental initiative was in line with the rhetoric of Tomorrow' s Schools (1988) the contention in this thesis is that initiatives such as this were not intended by the legislation. Despite the fact that the initiative was stimulated by and explicitly invoked the rhetoric, the spirit of the legislation was philosophically opposed to this particular kind of innovation. The ‘Kiwi’ initiative emerged in 1993, five years after the legislation. The initiative centred around a request for an alternative education programme to be set up within ‘Takiwa School’. This alternative was modelled on Playcentre, a New Zealand Early Childhood Education model, which encompasses aspects of progressivism. Kiwi parents and Takiwa School personnel achieved a ‘school within the school’ for a segment of Takiwa community. Parents became fully involved in all aspects of their children's curriculum, from planning, through to delivery and assessment. This thesis examines the politics of the change process within Takiwa School. Three questions are central to this case study examination of change. These are: What were the parents asking for? How were the parents able to achieve what they were asking for? and What were the effects of the process on what it was that the initiative ultimately became? These three questions are examined in a sociological manner, from a critical realist approach. A range of theoretical tools are utilised; the central theoretical windows are a combination of Exit, Voice and Loyalty-which is provided by Hirschman (1970)-and the theories which are encompassed in the New Institutionalist approach. The central argument of the thesis is that it was a particular combination of conditions and motivations which made the Kiwi innovation possible. The possible replicability of the initiative is discussed. A key concern of the thesis as a whole is whether the set of circumstances in which the innovation transpired was unique.Subscription resource available via Digital Dissertations only.
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Elliott, Burns Raylee Ann. "Voices of experience : opportunities to influence creatively the designing of school libraries." Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/48974/1/Raylee_Elliott_Burns_Thesis.pdf.
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Using a critical ethnographic approach this study investigates the potential for multiple voices of experience, of educators, designers/architects, education facility planners and students/learners, to influence creatively the designing of school libraries. School libraries are considered as social and cultural entities within the contexts of school life and of wider society. It is proposed that school library designing is a social interaction of concern to those influenced by its practices and outcomes. School library designing is therefore of significance to educators and students as well as to those with professionally accredited involvement in school library designing, such as designers/architects and education facility planners. The study contends that current approaches to educational space designing, including school libraries, amplify the voices of accredited designers and diminish or silence the voices of the user participants.
The study is conceptualised as creative processes of discovery, through which attention is paid to the voices of experience of user and designer participants, and is concerned with their understandings and experiences of school libraries and their understandings and experiences of designing. Grounded theory coding (Charmaz) is used for initial categorising of interview data. Critical discourse analysis (CDA, Fairclough) is used as analytical tool for reflection on the literature and for analysis of the small stories gathered through semi-structured interviews, field observations and documents. The critical interpretive stance taken through CDA, enables discussions of aspects of power associated with the understandings and experiences of participants, and for recognition of creative possibilities and creative influence within and beyond current conditions. Through an emphasis on prospects for educators and students as makers of the spaces and places of learning, in particular in school libraries, the study has the potential to inform education facility designing practices and design participant relationships, and to contribute more broadly to knowledge in the fields of education, design, architecture, and education facility planning.
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Bruce-Benjamin, Samantha Claire. "Beating of wings : a novel ; Throwing 'other' voices : the paratextual ventriloquism of Esther Inglis (1571-1624)." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/33215.
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The Beating of Wings is a polyphonic novel comprised of multiple interior monologues, inspired by the historical development of the fairy tale as a literary genre. Characters are based upon key writers within this movement: Charles Perrault, Rabbi Nachman, Flora Annie Steel, and J M Barrie; as well as associated figures, including the Franco-Scottish miniaturist and calligrapher, Esther Inglis, the Duchess of Polignac, and Edwina Mountbatten. The subject of this vocal fugue is an ostensibly authorless fairy tale, The Golden Tree and the Moth, handwritten in a seventeenth-century miniature manuscript. Within an omniscient frame modelled after the ancient Indian collection of fables, the Panchatantra (circa 200 B.C.), a succession of first-person narrators chronicle the passage of the fairy tale through time, via the 'beating wings' of its woven narrative threads, back to its source. As each narrator ventriloquises the voice of a previous owner, the matryoshka doll narratives engage concurrently with questions of adaptation and appropriation, narratology, paratext, the Barthesian concept of the 'death of the author', and literary ventriloquism. Ultimately, the novel aspires to culminate in a fictional rebirth of a defining voice, founded upon gynocritical theory and the silencing of women within the patriarchal canon during the early modern period. This origin of the tale that was neither 'already written', nor 'already read', is borne of Esther Inglis (1571-1624). My critical essay considers specific theoretical influences of the novel: predominantly literary ventriloquism, as well as Inglis's corpus. A marginalised figure in the context of early modern women's writing, prior to recent academic enquiry Inglis was dismissed as a skilled copyist, whose manuscripts were notable only for her virtuoso calligraphic replication of religious verse in miniature. To this discussion, I introduce Gérard Genette's concept of paratext as a viable means of interpretation. I argue that this strand of literary analysis is imperative to our understanding of how Inglis sought to materialise an authentic authorial voice through the paratextual space of her manuscripts, mobilising the trope of literary ventriloquism to facilitate her complex construction as a literary icon. By applying Genette's taxonomy, I suggest that Inglis emerges as an incisive, progressive, and ingenious publisher and author, who successfully manifested Her word upon the patriarchal page during an era when women writers were silenced or forced to write anonymously.
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Vanterpool, Irad. "The process of developing my voice as a playwright based on the creation of an original play /." Connect to this document online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1123220323.
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Thesis (M.A.)--Miami University, Dept. of Theatre, 2005.Title from first page of PDF document. Document formatted into pages; contains [1], iii, 114 p. Includes bibliographical references (p. 110-114).
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Evans, Lise Kat. ""Ensembles and Communities: the Creation of Hidden Voices" Outreach & Engagement Working Portfolio." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392215866.
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Bober, Nicholas Bradburn. "This Creature, Bride of Christ." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28395/.
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This Creature, Bride of Christ is a composition for soprano, alto flute, viola, marimba, and computer running custom software for live interactive performance in the Max/MSP environment. The work is a setting of excerpts from The Book of Margery Kempe, an early autobiographical manuscript depicting the life of a Christian mystic. The thesis discusses the historical, sociological, and musical context of the text and its musical setting; the use of borrowed materials from music of John Dunstable, Richard Wagner, and the tradition of change ringing; and the technologies used to realize the computer accompaniment. A score of the work is also included in the appendix.
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Nguyen, Cong Duc. "Creation and distribution of real-time content a case study in provisioning immersive voice communications to networked games /." Access electronically, 2006. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20070110.164837/index.html.
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Backhans, Gustav, and Douglas Driving. "Voice assistants and railway passengers : A user-centered exploration of value creation opportunities in a railway service context." Thesis, Linköpings universitet, Institutionen för datavetenskap, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-166386.
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There is a current rising trend of using voice assistants (VAs) to perform tasks in new ways, and various companies are considering introducing them as part of their service propositions. One such company is the railway service provider SJ AB that is interested in understanding how a VA may benefit their passengers. To better understand the utility of a VA in the railway service context, this thesis aims to explore the value creation opportunities that the introduction of such a technology presents. This exploration is done through identifying the potential functionality of such a VA, what value that functionality can create for passengers, and what barriers exist for creating that value. This identification is done through a user-centred research process, during which design probes and experience prototyping were carried out with railway passengers and analysed through qualitative content analysis. The results show that a VA presents fast, convenient, and intuitive access to a wide set of functions but is hindered by its invisible affordances and the user’s preconceptions. It shares several functions with existing channels, presented in a new way, that span the entire course of the train journey. The functionality and the identified functions primarily create utilitarian values, which connects to the passenger’s pragmatic view of the service. Furthermore, the passengers perceived the VA as an agent able to take over responsibilities and tasks from the passenger, resulting in a peace of mind but also a diminished sense of control. Finally, the railway service context affected what functionality is suitable, what values can be created and what barriers need to be considered. Some of the value creation possibilities and barriers are also contemporary and might change with shifting social norms and further technological development.
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Timan, Jesper. "Creating Natural Variation in Game Dialogue." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-74142.
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The interactive and non-linear aspects of video games bring forth the problem of repetition.In game sound, dialogue is particularly susceptible to repetition because of our hearing’ssensitivity to human speech. The most common way to avoid repetition in game dialogue isto record multiple takes of every phrase as to have several naturally varied samples, whereasthis study explores the possibility to create these natural variations by manipulation of pitchand/or time of one recorded phrase using a readily available software. A listening test wasconducted where 23 subjects rated the variation, naturalness and artifacts of a recordedspoken phrase where three altered versions manipulated by altering the pitch, timing and bothpitch and timing where compared to the original recording, examining which manipulationtype yielded the most variation while also considering the naturalness and artifacts. Arepeated measures factorial ANOVA and pairwise comparisons showed a significantdifference between all manipulation types regarding the three dependent variables. Theresults show that the pitch manipulated sample had the best compromise between perceivedvariation, naturalness and artifacts, and would therefore be the recommended method forcreating variation of recorded dialogue.