Dissertations / Theses on the topic 'Creative writing (incl. scriptwriting)'
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Bourke, Nicole A. "From the Cradle to the Grave: A Novel and Exegesis." Thesis, Griffith University, 2002.
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From the Cradle to the Grave: A Novel and Exegesis is concerned with maternal infanticide. This is, however, a somewhat inflammatory and perhaps misleading statement. While it is concerned with the infanticidal mother, she is in this instance largely an icon, a way into an exploration of diverse aspects of motherhood, especially negative ideas about mothers and mothering. It would be more precise to say that this thesis is concerned with the paradoxical Childless Mother.
Both the novel and exegesis circle around ideas about parenting that seek to confront traditional assumptions about the connections and differences between good and bad mothering. The exegesis - From the Cradle to the Grave - does this through a discussion of various aspects of culture, which produce and are produced by mothering practices. In particular it engages with childcare literature, medical and legal engagements with women and children, and myth and fairy tales.
The novel - The Bone Flute - is another exploration of the paradoxical nature of motherhood. While the exegesis seeks to draw together some of the material and historical truths of mothering, the novel addresses another kind of truth; through various narrative devices it seeks a different type of engagement with the lived realities of women.
Both texts ask questions about the nature of maternity and its relationship to femininity. Both attempt to come to terms with the paradoxical status of mothers without children. The exegesis is an explication of the research processes, the reflections and considerations that preceded and accompanied the writing of The Bone Flute. It seeks to make explicit the tangled web of reading and thinking that informed the writing of a novel - from initial impulse to final draft. The exegesis is not, however, an explicit explanation of how the novel was written. Rather the two texts existed (and exist) symbiotically - each inciting and reflecting upon the other. While the exegesis explores the material
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Breed, Catharina Adriana. "Die herskryf van die roman Die swye van Mario Salviati van Etienne van Heerden as 'n draaiboek, met spesifieke fokus op identiteit, hibriditeit en liminaliteit / C.A. Breed." Thesis, North-West University, 2007. http://hdl.handle.net/10394/1671.
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Wiesner, Kevin. "From “anytime, anywhere” to “here and now”: place and time restrictions in mobile narratives to enhance situated engagement of mobile users." Thesis, Ludwig-Maximilians-Universitat Munchen, 2009. https://eprints.qut.edu.au/67653/1/Diplomarbeit_KevinWiesner_%28Web%29.pdf.
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The usage of the mobile Internet has increased tremendously within the last couple of years, and thereby the vision of accessing information anytime, anywhere has become more realistic and a dominant design principle for providing content. However, this study challenges this paradigm of unlimited and unrestricted access, and explores the question whether constraints and restrictions can positively influence the motivation and enticement of mobile users to engage with location-specific content. Restrictions, such as a particular time or location that gives a user access to content, may be used to foster participation and engagement, as well as to support content production and to enhance the user’s experience.
In order to explore this, a Mobile Narrative and a Narrative Map have been created. For the former, the access to individual chapters of the story was restricted. Authors can specify constraints, such as a location or time, which need to be met by the reader if they want to read the story. This concept allows creative writers of the story to exploit the fact that the reader’s context is known, by intensifying the user experience and integrating this knowledge into the writing process. The latter, the Narrative Map, provides users with extracts from stories or information snippets about authors at relevant locations. In both concepts, a feedback channel was also integrated, on which location, time, and size constraints were imposed.
In a user-centred design process involving authors and potential readers, those concepts have been implemented, followed by an evaluation comprising four user studies. The results show that restrictions and constraints can indeed lead to more enticing and engaging user experiences, and restricted contribution opportunities can lead to a higher motivation to participate as well as to an improved quality of submissions. These findings are relevant for future developments in the area of mobile narratives and creative writing, as well as for common mobile services that aim for enticing user experiences.
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(12081530), Bryan S. Gadd. "Retaining the past: Writer of fiction or historian?" Thesis, 2021. https://figshare.com/articles/thesis/Retaining_the_past_Writer_of_fiction_or_historian_/19166315.
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Retaining the Past is a practice-based research project comprising a creative artefact, ‘The Clarity of Hindsight’, and an accompanying exegesis. The artefact aims to provide an authentic account of the social conditions of life in the late eighteenth century around provincial Oxfordshire, unfashionable Southwark and remote Cornwall. These accounts are based on sound historical research told not by way of conventional historical writing but via fictionalised, albeit ‘true-to-life’, stories of the lived experiences of the characters. ‘The Clarity of Hindsight’ demonstrates that sound historical research can be told imaginatively and legitimately as story, and the exegesis is my defence of that statement. The exegesis validates the artefact through two inter-related steps: an exploration of the creative mechanisms of the artefact itself and an overview of the landscape of historical fiction. It identifies the dangers and challenges of doing history through story, and offers some thoughts for potential future research.
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(13108435), Kevin Glen McLean. "The creation and analysis of a mythic, high fantasy, swords and sorcery novel." Thesis, 2005. https://figshare.com/articles/thesis/The_creation_and_analysis_of_a_mythic_high_fantasy_swords_and_sorcery_novel/20327316.
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This dissertation comprises a creative work, The Ulfang Tower, and an exegesis of that creative work. The creative work is situated within the area of literary fiction: more specifically it is a novel in the fantasy genre and its subgenres of myth, romance (in the medieval sense of the term), high fantasy, and swords and sorcery in its modern sense. The exegesis will locate the creative work within the history of the genres it is contributing to and the ideological affiliations it shares with /deviates from in respect to those genres as well as providing a detailed critique of the novel itself in terms of such devices as narrative point of view, characterisation and style.
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(9840830), Richard Townsend. "Rush to judgment: Aestheticising the double frame of the post-postmodern performative narrative: A novella and exegesis." Thesis, 2021. https://figshare.com/articles/thesis/Rush_to_judgment_Aestheticising_the_double_frame_of_the_post-postmodern_performative_narrative_A_novella_and_exegesis/17078225.
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Since the turn of the millennium, a growing number of scholars and critics have documented a post-postmodern ethos in cultural aesthetics. An important contributor to the study of this trend is Raoul Eshelman, whose theory of ‘performatism’ offers a systematic, monist approach to these developments in literature, art, architecture and film. In his analysis of literary texts, Eshelman identifies and theorises a new type of narrative, one which does not entirely abandon postmodern strategies of irony and scepticism, but which seeks to turn such strategies toward outcomes that emphasise stability of meaning, unity, belief in the fictional world, and transcendence leading to narrative closure.
In addition to under-representation in the scholarly literature to date, performatism as a framework for creative practice remains unexplored, and a systematised performatist analysis of crime writing is yet to be produced. This project seeks to address these gaps in creative and critical practice through the production of an original crime novella and exegesis, examining and extending performatist aesthetics and theory.
In order to achieve these outcomes, a novel, qualitative methodology is implemented. Performatism’s reading strategy is ‘reverse-engineered’ and its literary devices adopted as a creative writing strategy for the novella. Performatism is further employed as an analytical tool with which to illuminate the performatist strategies and techniques deployed in the novella.
Bringing the technical aspects of creative writing into focus, the exegetical component of the research offers a tenable method for testing the feasibility of a contemporary, alternative perspective in literary aesthetics and theory to take crime writing beyond poststructural and postmodern pluralistic approaches. In so doing, the exegesis also suggests a new way of thinking about the creative-critical nexus that links the disparate fields of creative writing and critical practice.
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(9833483), Peter Scottney-Turbill. "General Yueh Fei: A novel and accompanying exegesis." Thesis, 2009. https://figshare.com/articles/thesis/General_Yueh_Fei_A_novel_and_accompanying_exegesis/13457093.
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The project comprises a novel with the working title, General Yueh Fei, and an accompanying exegesis. The novel is a work of the historical fused with elements of fantasy, exploring the life and times of China's national hero, and the project comes to focus on Yueh Fei's sense of patriotism and his battles against the invading barbarians. Narrated by the ghost of the protagonist, the novel also examines the emotional conflict within Yueh Fei himself and between him and two other main characters within the Imperial Court. Central to the conflict is the effect on the protagonist of the fall of the capital city, Kaifeng, that split China into Northern and Southern Sung following a humiliating peace treaty with the barbarians. The novel is written in the first person narrative mode and describes these fictionalized historical events and the surrounding circumstances that culminated in the arrest and murder of General Yueh Fei and his son, Yueh Yun. The exegesis is an informed reflection on the novel, calling on critical and theoretical thinking relevant to the writing in English of a Chinese based historical romance novel as well as cognate works in fiction and film. It gives an account of what inspired the work and the sources drawn on in creating it, positioning the work generically and exploring its theoretical basis and affiliations including the related issue of the Orientalism/authenticity nexus in the historical romance novel.
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(9780167), Denise Beckton. "'The last statue: Identifying trends in young adult fiction in order to support the writing of a young adult novel featuring a fictional language'." Thesis, 2016. https://figshare.com/articles/thesis/_The_last_statue_Identifying_trends_in_young_adult_fiction_in_order_to_support_the_writing_of_a_young_adult_novel_featuring_a_fictional_language_/13437449.
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This thesis includes two interrelated components: a creative work and exegesis. The creative component has involved the writing of a historically informed fiction entitled ‘The last statue’ and, more specifically, the construction and inclusion of a fictional language as a component of the novella’s narrative. This fictional narrative explores the enigmatic history of Easter Island and its inhabitants during a particularly turbulent and complicated time of the island’s history (c. 1200–1800 AD), and focuses on themes of love, loss and war. Authors have few models on which to base a creation of fictional language should they wish to include one as a narrative component. Through the investigation of existing artefacts containing examples of the defunct pictorial language of Easter Island (called Rongorongo), and applying a fictional meaning to the glyph-based language encrypted within them, this thesis demonstrates how practice-led research techniques helped to facilitate the construction of an invented language to support the novella’s narrative. A significant finding in this area is that the use of a fictional language/s can enhance aspects of a narrative, such as voice, setting, character development and plot. It is hoped that information gleaned from this research will offer guidance to authors wishing to develop and implement a fictional language (in this case, a pictorial/symbolic language) as a component of a fictional narrative. Written to accompany ‘The last statue’, the exegetical dissertation investigates the process and challenges associated with writing a contemporary Young Adult fiction novel when genres, sub-genres and target readerships are rapidly evolving. In identifying the distinguishing influences, and influencers, of change affecting contemporary bestselling Young Adult fiction (since 2005), this exegesis records the practice-led research methodology and resulting outcomes that inform and underpin the themes, narrative construction and literary devices chosen to develop and produce the accompanying novella. By extending scholarship relating to contemporary international bestselling Young Adult fiction, in particular, this exegesis provides research on a topic that, in scholarly terms, has eluded significant inquiry in recent times. This will be useful for creators and consumers of, and commentators on, contemporary Young Adult fiction as it contextualises and addresses current issues facing writers in this genre. While this research supports recent findings that consider changes in Young Adult fiction to be positive developments, it also offers new scholarly knowledge that exposes the strategies and behaviours that predominantly adult groups and institutions are practising within the Young Adult fiction arena. These strategies are increasingly used to facilitate, hasten and heighten these changes. Additionally, this research asserts that market segmentation and franchise strategies that promote bestselling international fiction may be limiting the very potential that their popularity claims to offer.
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(9796751), Gail Forrer. "Voicing the generational disruption experienced by the post-55-year-old and older women in contemporary Australian society through a creative narrative influenced by the literary genre of Magic Realism." Thesis, 2018. https://figshare.com/articles/thesis/Voicing_the_generational_disruption_experienced_by_the_post-55-year-old_and_older_women_in_contemporary_Australian_society_through_a_creative_narrative_influenced_by_the_literary_genre_of_Magic_Realism/13447928.
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This research considered generational social changes and their effect on the post-55--year-old Australian woman, and explored whether this re-established order of society required a shift in conventional story-telling. The project has contributed to an understanding of how deep social change both accelerates and deconstructs lifestyles.
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(9841268), Lesley Tunnah. "Seek and You Will Find: reimagining the biblical narrative as a Christian fantasy allegory." Thesis, 2022. https://figshare.com/articles/thesis/Seek_and_You_Will_Find_reimagining_the_biblical_narrative_as_a_Christian_fantasy_allegory/24791625.
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Though the Bible can be a difficult book to read and process, the creative arts may provide more relevant representations for contemporary audiences through original, imaginative formats. Fantasy is a popular, contemporary genre, so one approach to
employing the creative arts is to reimagine selected, significant events and themes of the Bible as a fictional, Christian fantasy allegory. Using practice-based research, the arenas of allegory, biblical narrative structures, fantasy styles including the
representation of female heroes, and Christian fantasy criteria were investigated. Relevant research outcomes were then synthesized and processed with imagination to create the Christian fantasy allegory, Dark Spark. Innovative, original, symbolic
representations reimagine the significant biblical narrative events of creation, separation, redemption and restoration occurring in a fictional, fantasy world. The accompanying exegesis explains the developmental process and includes a critical
analysis of story components using a repertoire of narrative elements. Dark Spark is set in a sepia world of almost-dark created by Aurion, the Devourer of Light. The inhabitants wait for the prophesied warrior-saviour, a lightbearer who will overcome
the darkness and restore true light. The inclusion of multiple, symbolic, biblical events in one story and innovative, female hero depictions of biblical characters has resulted in an original, Christian fantasy allegory. Dark Spark demonstrates that
allegory remains an effective writer’s tool able to present significant events and themes of the biblical narrative reimagined as a Christian fantasy.
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(9843737), Irene Waters. "More me: How can a memoirist create a vibrant sequel memoir?" Thesis, 2017. https://figshare.com/articles/thesis/More_me_How_can_a_memoirist_create_a_vibrant_sequel_memoir_/13444784.
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Memoir, the writing of a portion of one or another’s life, is becoming an increasingly popular genre of writing with readers. Writing a sequel to a memoir is relatively uncommon and little research has been carried out on the writing of a sequel or prequel to a first narrative. This thesis consists of a book-length creative artefact, a sequel memoir titled ‘After the Nightmare’, and a reflective exegesis ‘Creating a Compelling Sequel Memoir.’
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(7815644), E. Jones. "Pitfalls - exploring long-term grieving following coal mine disasters : an original screenplay and companion exegesis." Thesis, 2014. https://figshare.com/articles/thesis/Pitfalls_-_exploring_long-term_grieving_following_coal_mine_disasters_an_original_screenplay_and_companion_exegesis/13432574.
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(9803684), Michael Hewson. "Anecdotes of the Anthropocene: An anthology." Thesis, 2020. https://figshare.com/articles/thesis/Anecdotes_of_the_Anthropocene_An_anthology/17082722.
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These Anecdotes of the Anthropocene are curated into an anthology. Top and tailed, these twelve pieces of earthy writing reframes a long history of environmental consciousness. The creative artefact challenges readers to consider environmental activism as nothing new – and that a need for educative sign erecting endures.
An anthology is a useful way to bring a suite of ‘short’ poems and prose pieces together to encapsulate a cohesive whole – a forest of individual trees. Each vignette is crafted to the norms of a literary sub-genre, but so collected, create a coherent environmental narrative. The goal of the anthology is to proffer an environmental concern via strategic storytelling. Here, the aim of strategic storytelling is to contribute to changing public ecological opinion. Thus the output seeks to motivate an illusionary and unmeasured outcome.
The introduction explains the Anthropocene and sets the scene. The twelve following creative non-fiction pieces are then shuffled as: narrative journalism; Op-Ed; ecocriticism; narrative poems (a sonnet, an amphimacer and an ode); speculative non-fiction; concrete-prose; rhetoric and a memoir. The images that begin each vignette signals the theme of the piece visually. Finally, an end-piece wraps up the collection.
The anthology is a work of Literary Geography. The word geography originates from the Greek geographia; further comprised of the Latin for Earth (gēo-) and writing (-graphia) – thus writing the world. An accompanying exegesis extends the literary component of the dissertation with a critical analysis of the creative artefact.
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(11874421), Alison R. Owens. "Researching and writing an historical fiction of the early-mid Twentieth Century Woolloomooloo community: A creative practice-led narrative inquiry, comprising Woolloomooloo Bad (a novel) and Fictionalising 'true' accounts: A reflection on a creative practice-led narrative inquiry of a Woolloomooloo family (exegesis)." Thesis, 2018. https://figshare.com/articles/thesis/Researching_and_writing_an_historical_fiction_of_the_early-mid_Twentieth_Century_Woolloomooloo_community_A_creative_practice-led_narrative_inquiry_comprising_Woolloomooloo_Bad_a_novel_and_Fictionalising_true_accounts_A_reflection_on_a_creat/13446065.
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This thesis is comprised of a novel, ‘Woolloomooloo Bad’, and an exegesis that seeks to investigate the research and development processes involved in completing the novel. The research question posed for this thesis was: how can a creative practiceled, narrative inquiry, drawing on personal stories as well as public and private documents and artefacts, generate a fictional account of lived historical experience?
The novel presents the story of a working-class family set in the 1930s and 1940s in the Sydney dockside suburb of Woolloomooloo. This story is inspired by the early life of my deceased father-in-law and his closest relatives and spans an important and challenging era for ordinary Australians encompassing the Great Depression, the spread of communism and associated class struggles, the unionisation of labour and the second World War. In the novel, my young protagonist, as well as his mother and sister, are abandoned by his father for a ‘fancy woman’ and leave their home in Brisbane to reside with their paternal grandparents in a Woolloomooloo terrace house, where his mother finds work as a shop-girl at the iconic department store, David Jones. The suburb of Woolloomooloo has had a colourful history since colonisation
displaced the original Aboriginal inhabitants. This was initially with the establishment of a grand home and farmland developing by the late nineteenth century into a lively, commercial fishing village. In the twentieth century, Woolloomooloo transformed into an industrialised, maritime economy with busy wharves and a local population of
wharf workers, sailors, fishermen, prostitutes and bohemians living in closely stacked terrace houses in increasingly crowded lanes. The young hero grows up under the influence of the other males in the family who are wharf workers caught on either side of a developing struggle between wharf management and labour as the economy collapses and the Great Depression threatens every family, but particularly the working class. Woolloomooloo and its neighbouring Kings Cross were also characterised as hotbeds of criminal activity including illegal bookmaking, standover
work, drug and alcohol trading and counterfeit. The novel explores the different and overlaid elements of criminality evident in this community from the petty crimes of bookmaking, prostitution and sly-grog trading, to the socially embedded and normified injustices of a ruthless system of labour and, ultimately, the atrocities of yet another world war. The exegesis provides an account of the research that was undertaken to background this story, pursuing a creative practice-led narrative inquiry
approach which sourced the personal accounts of surviving family members as well as non-fictional and fictional texts depicting the Woolloomooloo environs and community. The exegesis also explores the relationship between this research and the creative process of fiction writing, providing examples of key texts and textual elements that influenced the development of the fictional account of this community,
their experiences and concerns. The thesis concludes that creative practice-led narrative inquiry is a functional methodology for historical novelists seeking to research fact-based personal and public accounts of an historical era, as well as other non-fictional and fictional accounts, in order to create a story that resonates with the data but also provides an empathetic account of the human experience.
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(9789176), Peter Cousens. "Dramatising a real-life tragedy into a commercially oriented screenplay: An actor’s reflection on the screenwriting process." Thesis, 2021. https://figshare.com/articles/thesis/Dramatising_a_real-life_tragedy_into_a_commercially_oriented_screenplay_An_actor_s_reflection_on_the_screenwriting_process/16575041.
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The thesis initially unearths and defines my own creative process, then describes how I dramatised the factual sequence of real-life events into a screenplay that sit within the thesis. The perspective I take is from that of an actor, new to the practice of writing for the screen, but not new to film making. My creative practice-led research articulates how this unique perspective informed the aesthetic dramatisation of the screenplay and, as such, the research will uniquely contribute to the knowledge and understanding of the screenwriting process.
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(9781949), Susan Bond. "'A shark in the garden': Adoptee memoir as testimonial literature – a creative and exegetical reflection." Thesis, 2019. https://figshare.com/articles/thesis/_A_shark_in_the_garden_Adoptee_memoir_as_testimonial_literature_a_creative_and_exegetical_reflection/13451183.
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I was told by my father in December 1988 that I was adopted. I was twenty-three years old, near the end of a medical degree, and had just announced to my parents that I thought it best I leave home because of the intense conflict between my father and myself. This ‘revelation’ of my adoptive status was a life-changing event that I have struggled with since that day, but which also explained many things about our family. It is in response to this revelation that I endeavoured to write a memoir that would explain our family dynamic, to both myself and others, and provide what might be a useful resource for adopted and non-adopted people generally, especially late discovery adoptees (LDAs).
The resulting memoir, ‘A shark in the garden’, forms part of this thesis; its companion is an exegesis on adoptee memoir as testimony literature.
The primary research question that has driven my research is:
How can I write, as a late discovery adoptee, a memoir that reflects that particular experience and addresses the concerns and interests of the late discovery adoptee reader, as well as the memoir reader more generally?
The secondary question or sub-question that is needed in order to fully address it is:
Where do adoptee life narratives, both late discovery and non-secretive, fit in to the general category of autobiography or memoir, and do they have any special features I need to consider in writing my memoir?
I argue that adoptee memoir, particularly LDA memoir, has a testimonial function arising from its depiction of experiences especial to adoptees, and that, as a result of this, it has a distinct place in the taxonomy of life writing rather than being included within other genres (such as filiation narratives).
The memoir is focused on my life with my adoptive parents, structured around that ‘pivot point’ of the revelation, where everything changed. My father had been a Royal Air Force navigator in World War Two and suffered the effects of trauma from this experience, which affected both of my parents and our family life. Issues of mental illness for both my father and myself, suicidality, infertility, and family conflict arise, as well as my confusion around identity and the search for my birth mother and reunion with her. The secrecy around my adoption was compounded by other secrets also not revealed until after the death of my parents.
This is a practice-led/research-enabled project with input from autoethnography. The exegetical component gives a brief overview of the history of adoption, the psychological aspects of adoption, and issues around late discovery generally, before I then examine adoptee memoir with a view to constructing a taxonomy of adoptee/LDA life writing, and to situate it within the larger category of autobiography, using Smith and Watson’s (2010) sixty genres of autobiography, Gage’s Internet database, the Reader’s guide to adoption-related literature, and my wider research. I follow this with a discussion of trauma and testimony as they apply to adoptees. I use the case of adoptee Binjamin Wilkomirski’s false Holocaust memoir, Fragments: memories of a childhood, 1939–1948 (1997), to explore aspects of the effects of trauma upon the adoptee and how it may have affected his writing of the memoir, and discuss the possible implications of the traumatic ‘wound’, the potential of testimony and constructing counterstories. These discussions are particularly centred around late discovery adoptees, who must deal with the impact of origin secrecy upon themselves and their relationship with their families.
My arguments and their significance and the contribution to knowledge of the thesis are brought together in the conclusion, namely that adoptee memoir has a testimonial function and a place within the taxonomy of life writing because adoptees, and late discovery adoptees in particular, experience the effects of deliberate family formation policies, both of the past and the present. Late discovery adoptees have the added experience of secrecy about their origins. Their memoirs often reflect the effects of separation and secrecy, and search and reunion.
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(9792455), Leanne Dodd. "The crime novel as trauma fiction: Representing traumatic experience and post-traumatic growth in crime fiction, comprising: Ebb and Flow: A novel and exegesis." Thesis, 2018. https://figshare.com/articles/thesis/The_crime_novel_as_trauma_fiction_Representing_traumatic_experience_and_post-traumatic_growth_in_crime_fiction_comprising_Ebb_and_Flow_A_novel_and_exegesis/13447871.
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This thesis examines writing practices to represent trauma for the benefit of readers and writers in a work of popular genre crime fiction. The research is conducted through an original creative work and a critical exegesis.
Ebb and Flow is a crime novel situated in the domestic noir sub-genre, with a fragmented narrative structure that is informed by trauma literature. The unreliable narrator/protagonist’s traumatic experiences of domestic violence are revealed through two point-of-view characters; the split psyche of Ebony/Florence, a young mother dealing with the abduction of her four-year-old daughter and accusations by police that she is somehow responsible; and her mother, Sandy, whose narrative begins in the past and eventually catches up with the present. The challenge confronted in the production of this creative work was to use narrative to mirror the fragmented and repressed nature of traumatic memories, while remaining true to the elements that make crime fiction popular.
The creative work is accompanied by a critical exegesis that firstly investigates narrative strategies and devices for capturing the fractured and impaired memories that arise out of trauma, and representing one of trauma’s symptoms – dissociation. The exegesis examines techniques employed by authors whose work is situated in the genres of crime fiction and trauma literature, and suggests how these might be aligned. This writing process is then enacted in the creative work through research-led practice. This research aims to develop a framework to classify such hybrid works as a subset of trauma literature. The exegesis then shifts to practice-led research to reflect on how creating the fictional work allowed an exploration of the lived experience of trauma, but with the emotional distance required to be able to write with a deeper exploration of the subjects the author was reluctant to confront autobiographically. White’s maps of narrative practice (2007) and Campbell’s Hero’s Journey stages (2004) are applied to the writing process to outline a post-traumatic journey framework for creative writing that might allow the realisation of benefits for writers.
Although there is growing awareness and credibility for writing that achieves therapeutic benefits for readers and writers, significant further research needs to be undertaken to reach its potential value and power, particularly in relation to the potential of genre fiction to represent trauma more realistically and to evoke benefits for a widespread audience.
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(9823409), Charmaine O'Brien. "Developing psychological resources for creative writing through challenging stereotypes in Australian food history: A creative work and exegesis." Thesis, 2018. https://figshare.com/articles/thesis/Developing_psychological_resources_for_creative_writing_through_challenging_stereotypes_in_Australian_food_history_A_creative_work_and_exegesis/13448012.
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The necessity for innovative responses to sustain our natural environmental, social and cultural wellbeing and economic prosperity is a constant refrain in contemporary society. Creativity is the prerequisite for innovation and creativity is a driving force in the modern economy. creative skills will be key assets for individuals, organisations and
communities into the future and creative people will be seen as the source of innovative ideas. Developing creative capabilities in individuals is therefore of vital importance and advancing knowledge about creativity is essential to achieving this growth. Studying the practice of creative individuals holds significant potential to progress understanding on
how to develop creativity more widely. Situated in the field of creative writing, using a food history project as the vehicle, this thesis seeks to demonstrate through the example of an individual writer’s experience of creative process and performance, how creative writing research contributes to wider understanding of creativity and how it can be
developed.
Through investigation of primary resources, supported by secondary material, the creative work of this thesis, ‘The Colonial Kitchen’ mounts a compelling challenge to the accepted notions of Australia’s colonial food history – that the colonial diet was abominable and colonial cooks incompetent. It argues as a main theme that social aspiration and defence of class privilege had a significant influence on the reporting of
colonial foodways. Additionally, it notably demonstrates colonial literature as a rich and largely untapped source of culinary reference. In doing so, the work offers a new, more nuanced and considered understanding of the food production, cookery and eating practices of colonial Australians, thereby making a contribution to food history.
Creativity is largely a psychological phenomenon. During the process of producing the creative work, the author documented her psychological experience in a journal with the aim to capture direct experience of the creative challenge of producing a work of measured contest to established historiography. The data resulting from this experiment
was the starting point for the exegetical component of this thesis that explores the psychological resources that are utilised in the creative process and how these might potentially be developed. The exegesis employs a mixed methodology including practice led and phenomenological elements. A review of the literature of the psychology of creativity furnishes the theoretical tools through which the psychological material of the writing journal is explored in a series of coaching sessions between the author and a psychological coach. Through this exploration, the exegesis concludes that focused human-centered support, informed by understanding of the complex multi-factorial nature of creativity, offers a valuable approach to creativity development. A set of guidelines derived from the research findings is offered as tool for supporting the development of psychological resources for creativity in individuals.
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(9843503), Bambi Ward. "Family secrets and identity issues in writing a memoir of a second generation Holocaust survivor raised as a Gentile." Thesis, 2019. https://figshare.com/articles/thesis/Family_secrets_and_identity_issues_in_writing_a_memoir_of_a_second_generation_Holocaust_survivor_raised_as_a_Gentile/13451141.
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(9786977), Pawel Cholewa. "Fictocritical innovations in creative and academic writing: Four theses." Thesis, 2019. https://figshare.com/articles/thesis/Fictocritical_innovations_in_creative_and_academic_writing_Four_theses/13416260.
Full textAbstract:
This creative writing dissertation interrogates the author’s corpus of fictocritical writing within the ambit of four contemporary sociocultural landscapes: journeys; family; education; and technology or living in an increasingly digital age. Within four separate discursive investigations, the author questions the nature and form of fictocriticism through the production and (psycho)analysis of a variety of creative literary structures ranging across various writing forms from prose poetry and autoethnography to flash fiction and narcissistic critique. A broad array of techniques are examined as fictocriticism has become a revolutionary “genre-crossing, genre-subverting, and genre-defying” form (Haas 17). Evaluating fictocriticism as both an artform and as a vehicle for higher theory and criticism, this dissertation contends that the genre warrants further academic attention, not only in literary and creative writing studies, but potentially across a plethora of social, artistic, scientific, educational, political and historical fields. The ultimate goal of this research project is to provide new and expanded reading tools that both explain the subjectivity and context of fictocritical writings and simultaneously innovate the form of fictocriticism. The central subject of the author’s experimental fictocritical stories is a young male Polish-Australian, who offers perspectives of his personal experience in four separate areas of his life. Each of these areas is examined and analysed in one of four distinct sections. The creative writings are considered ‘experimental’ because they test and play with the format of fictocritical writings while dissecting the fictocritical form. This study has been conducted in order to address the following research questions: What is fictocriticism, and what can it do? Is there a universal definition of fictocriticism? Can fictocriticism function within both academic and creative writing practices? Can it be merged with other mediums and fields? Is it a methodology that can still evolve? Has fictocriticism changed over the years to become more dynamic, or has it become more ambiguous? Can fictocriticism be better categorised and synthesised? What boundaries are necessary to sustain it as a legitimate methodology in academia? Each of the four individual exegetical theses in this dissertation use a broad variety of writers and their texts to explore a different sociocultural area, revealing an unexplored gap in the research on fictocriticism. This is a critical issue when considering what fictocriticism can contribute to literature and academic understanding. There is also an essential paradox between the theory surrounding fictocriticism suggesting how ‘freeform’ it is, and how non-freeform it still seems to be due to its lack of theoretical ‘rules’. A detailed literature review explains the nature of fictocriticism, considering texts from fictocriticism’s predecessors as well as looking at creative contemporary works that engage with the four primary sociocultural issues. Finally, this dissertation provides a new understanding of fictocriticism through the interrogation of original creative pieces devoted to the issue of the contemporary self, offering a reinvigoration of fictocriticism as a writing strategy.
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(9819080), Nadia Mead. "Not my circus, not my monkeys: Using Bakhtin's carnival to explore teacher identity and experience." Thesis, 2017. https://figshare.com/articles/thesis/Not_my_circus_not_my_monkeys_Using_Bakhtin_s_carnival_to_explore_teacher_identity_and_experience/13443146.
Full textAbstract:
This PhD artefact consists of an anthology of short stories collectively
titled ‘Not My Circus, Not My Monkeys’, and an accompanying exegesis
titled ‘Not My Circus, Not My Monkeys: exploring the creative process
and product’. The short stories document the experiences of teachers
from the early days of their careers to a time before retirement. Each
story uses Bakhtin’s carnival to explore the experiences of teachers in
their everyday workplaces and beyond. The carnivalised stories convey
the emotional aspect of the job and how this dimension of the workplace
is marginalised when talking about the teacher profession. The stories
highlight how within English and Australian educational systems, the
individual teacher’s voice is also marginalised or silenced. The narratives
examine the impact on teachers as people and the exegesis enters into a
scholarly debate regarding a profession that is struggling to keep its
newer recruits. An enduring theme of teacher identity underpins the
stories and this theme is also debated in the exegesis using an
autoethnographic methodology. The writer’s choice of creative writing as
a vehicle for examining teacher identity and experience is discussed in
the exegesis, and the elements of short story writing are also investigated.
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(9790196), Susan Currie. "The activist life of Dr Janet Irwin and my activist response in researching and writing her story." Thesis, 2016. https://figshare.com/articles/thesis/The_activist_life_of_Dr_Janet_Irwin_and_my_activist_response_in_researching_and_writing_her_story/13437788.
Full textAbstract:
My PhD thesis, entitled ‘The activist life of Dr Janet Irwin, and my activist response in researching and writing her story consists of a biography, ‘A Prescription for Action: the life of Dr Janet Irwin, and an exegesis, ‘Biography, motivation and writing the life of Dr Janet Irwin’. My research question led me to investigate how a woman born in 1923, who grew up in a remote area of New Zealand, came to be a leader in the provision of university health services in Australasia, and a successful activist on social justice issues, particularly those involving women. It also led me to explore the link between my subject’s activism and my own activism in researching and writing about her life, and, from this, the importance of motivation for biographers. The biography describes the influence of Janet’s father, who set up a healthcare service which even today is viewed as innovative, and the impact of the early death of her brother. It recounts how she completed her medical degree in her forties when her children were teenagers, and how she discovered she had siblings in Scotland. In Edinburgh, Janet worked with children with psychological problems, and was influenced by the new school of thinking on psychosocial development. Offered a position at the University of Canterbury in Christchurch, New Zealand, she carried out original research which challenged conventional thinking on a range of issues relevant to student health, came to view the doctor-patient relationship as the focus of medical practice, took part in her first political rally, and declared herself a feminist. 1974 saw her relocate to Australia and take up the role of Director of Student Health Services at the University of Queensland where she focused on the importance of teamwork, again carried out relevant research, played a role in changing the nature of medical education and practice, and was appointed to the National Better Health Commission. She mentored female students and general practitioners, ensured that the university developed a broad view of occupational health and safety, and played a major role in improving the status of women staff and students. She was an activist on health and women’s issues at the community level and the national level as well as at the university. Her retirement from the university saw her take up an active role on the Criminal Justice Commission, charged with the reform of a corrupt system. She continued to speak out on issues of social justice and campaigned for A Woman’s Place to honour the achievements of women. The exegesis validates the disciplinary context of my work as practice-led research within the field of creative non-fiction in the creative arts. It outlines the evolution of biography; how both literature and history have, at various times, both claimed biography and rejected it from their domains; and the impact of this research on my biography. It explores the context of Virginia Woolf’s stance that biography is not an art, and suggests that her problems with the form related to her problems with motivation in writing one. It claims that motivation is a significant factor for biographers, and that novelists hold biographers in low esteem for reasons related to motivation. It details my own motivation in wanting to understand what made Janet such an unusual woman for her time and how she achieved what she did; wanting to honour her life as a fellow feminist; and seeing her as a role model for others wanting to make a difference to society. It also describes the process of writing the biography, including my experimentation with biographical form before returning to a fundamentally narrative, chronological approach.
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(9842453), Alison Vincent. "Sydney eats, Melbourne dines: Shaping Australian tastes 1970–1995." Thesis, 2019. https://figshare.com/articles/thesis/Sydney_eats_Melbourne_dines_Shaping_Australian_tastes_1970_1995/13450736.
Full textAbstract:
Through an analysis of newspaper review columns and restaurant guides, this thesis evaluated the role of restaurant criticism in the social construction of taste in Sydney an Melbourne over the period 1970 to 1995. It argued that critics encouraged, and legitimated, omnivorous tastes relative to the social and cultural history of their community.
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(10701087), Lucas L. Hunter. "HAPPY COMES AFTER." Thesis, 2021.
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(8790089), Jennifer Loyd. "The Domain of Perfect Affection." Thesis, 2020.
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A collection of lyric poetry that explores subjective
feeling in contrast with public sentiment through the lens of the life and
legacy of marine biologist and writer Rachel Carson, including what the idea of
“legacy” means for women, science, queerness, and (auto)biography.
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(8812175), Javan Dehaven. "this whole thing jules it takes the wind." Thesis, 2020.
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(8811923), Steven Dawson. "in the dream things are as they should be." Thesis, 2020.
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(6639359), Charles N. Peck. "World's Largest Ball of Paint." Thesis, 2019.
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(6634877), Noah Baldino. "Hinge." Thesis, 2019.
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A typical door has three parts: the pin, the knuckles, and the leaves. The two leaves touch the surface: one for the door, one for the frame. The knuckle's where the leaves meet in the middle. It lets the door move once the pin's slid in, to hold the thing in place. The leaves are also known as wings. When a door is closed, the wings touch, pressed perfectly together: door to hinge to frame. The knuckles are hidden on the inside, then. From the outside, you might think the door is floating. To open the door, you first need a body. The identical wings will part. The door will retreat to clear a space. Then, through the frame, our bodies might move.
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(6631730), Hannah G. Dellabella. "What I Do Next Is Automatic." Thesis, 2019.
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“You remember too much / my mother said to me recently. / Why hold onto all that? And I said, / Where can I put it down?” – Anne Carson.
This is a collection of poems; this is where I can put it down.
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(10725864), Kristyn Childres. "Digitally Intimate." Thesis, 2021.
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(10702974), Lydia Cyrus. "IF YOU LIVED HERE YOU'D BE HOME BY NOW." Thesis, 2021.
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This selection seeks to explore rural West Virginia and the cycles that plague it. From addiction, abuse, and poverty, through the lens of three generations of women from the family, each aspect is touched on. The themes of longing, loving, hating, wondering, and leaving embrace each other through the lives of the women and their bonds with each other.
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(6640922), Diana C. Clarke. "Thin Girls." Thesis, 2019.
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(8802530), Aaron Dell. "Vicious Children and Other Stories." Thesis, 2020.
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Vicious Children and Other Stories contains four stories, each concerned in their own way with boyhood, friendship, masculinity, and alienation. Vicious Children is a novella that follows two brothers, Jesse and Danny, as they explore a time in which their roles in their community and family are changing. In “What Else Are We Going to Do With Them?” a group of young boys fight betta fish to the death, leaving one of the boys, Josh, questioning his enjoyment of the fight. “Gash” deals with the main character, Adam’s, memory of a traumatic event in contrast to the lighthearted way he and his family tell the story in the present. Finally “Don’t You Have a Name?” follows Zach, a content moderator for a social media platform, who finds that, although he excels at the job, it comes at the cost of his mental health.
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(10701153), Andrew Nellis. "Linger." Thesis, 2021.
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(10681215), Seth Andrew Cureton. "Buyer's Remorse." Thesis, 2021.
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(8740851), Tamara J. Rutledge. "All My Mothers." Thesis, 2020.
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All My Mothers came to me as the story of a child trying to grasp the cruelty of the world through understanding her murdered mother and, later, her extended family of mothers. When I decided to add chapters from the mother’s point of view, I realized that she had the same struggle and so I wanted to parallel their journeys—the journey of a mother and daughter, or two daughters, really—in order to show the way that this family passes on its pain. All this takes place in what J. R. R. Tolkien called a secondary world, a term that we still use to describe fantasy that takes place in a world other than this one. The depth of worldbuilding that comes with this speculative genre places power in the writer’s hands to imagine radically feminist worlds or examine power, structures, and beliefs. I also knew I wanted to create societies and characters that are queer. Science fiction and fantasy are uniquely positioned to explore different relationship structures and ways of loving as depicted in feminist classics like Ursula K. LeGuin’s The Left Hand of Darkness or Octavia Butler’s Dawn. In my novel, all three immortal peoples are ace, agender or genderfluid, and reproduce asexually. While race is not constructed the same way in this world, most of the immortals have shades of dark skin because I think it is powerful to imagine BIPOC as ageless beings with the agency to shape their futures. Given the story’s themes of creation, destruction, and environmental apocalypse, I think it’s important to see queer femmes saving their worlds, healing their families, and building alliances.
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(8816804), Kelsey Lefever. "The Tenth Daughter." Thesis, 2020.
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In September 2007, Americans Jenna Cook and her daughter, Pia, arrive in Wapendeza Village, Kenya. On the heels of her divorce, Jenna is returning to where she taught in the Peace Corps in fifteen years ago. Jenna and Pia are staying with Jenna’s old friend, Winston, at his property on the beach. Winston’s property, The Mangrove, serves as a job for several dozen workers from the surrounding village who cook, clean, and garden. Jenna teaches at Wapendeza’s primary school, where she befriends a young student, Moni.
Moni is twelve years old. Her sister, Vivian, is fifteen, and has been dating a local pikipiki driver who is much older. Moni’s mom, Mercy, has been dealing with illness for a while and her health continues to decline. When Jenna realizes that Moni’s family is struggling, she begins bringing them food and clothes.
In the meantime, Pia spends more time around Martin, a boy a few years her senior who works at The Mangrove. The two begin seeing each other romantically.
Kenya is approaching historic elections that will, in a matter of months, rip apart villages along tribal lines and displace hundreds of thousands of people. Fliers circulate in Wapendeza Village (partly the doing of Martin’s best friend, Ebechi, who works for the incumbent president’s campaign office in the village), and campaign vehicles drive through regularly. Moni’s family and most of those she spends time around, including Martin, are Kikuyu, the tribe of the incumbent president. Winston, however, and some others in the village, are supportive of the other candidate.
After staying with her boyfriend away from home for a particularly long time, Vivian is kicked out altogether. The girls’ mother’s condition worsens, and she ultimately passes away.
Disagreements between Winston and his staff over politics grow more and more tense. Martin steals a gun from a locked closet in Winston’s banda so Moni’s family can protect themselves from targeted violence against Kikuyus.
As the elections come, Jenna takes Pia to Tsavo National Park to camp. Martin drives them, and Jenna finds out that he and Pia are in love, a fact she does not take well. When they return, Kenyan elections have finished running, and the incumbent president has been declared the winner to much controversy. The village is erupting in spirited arguments, and Winston is more furious than ever. The gun that Moni’s family had has been stolen from their house.
A letter arrives for Jenna and Pia; Pia’s father believes it’s no longer safe for his daughter to stay in Kenya and is insistent that she come home immediately. Pia is furious, believing she’s being punished for her relationship with Martin. On the day before Pia is set to leave, she sneaks out of The Mangrove to spend time with Martin at his house. Ebechi finds them and says that her mother is looking for her, and that they must be getting back immediately. As the three walk back to The Mangrove, they encounter Arman, a village Luo at odds with Ebechi. When an argument erupts between the two, Arman shoots Ebechi with the stolen gun, and he dies at Pia’s feet.
In the aftermath, Pia does not make her flight home, much to the horror of her father. There are village riots centered on the injustice of Ebechi’s death, and the school building is lit on fire. Jenna and Winston are some of the first responders and must choose between using the fresh water stored in tanks that is supposed to get the village through the dry season to put out the fire, or let the school burn and save the water.
The women in this story—Jenna, Pia, Moni, Vivian, and Mercy—all deal with difficult relationships with men, overcoming reliance and abuse to grow more independent. Vivian and Pia, the same age, serve as parallels to one another. Pia and Moni both grow up over the course of the story, adopting adult responsibilities. Vivian grows closer to her family, and Jenna ultimately grows closer to her daughter. In the aftermath of historic corrupt elections that changed the course of Kenya’s government, the women become their own leaders.
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(6639902), Caleb Milne. "Even The Sky." Thesis, 2019.
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(6640889), Carey F. Compton. "The Device As Described Does Not Yet Exist." Thesis, 2019.
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Schroeter, Gillian Lee. "The school production – to be or not to be?" Thesis, 2015. https://vuir.vu.edu.au/29732/.
Full textAbstract:
School theatre productions are performed throughout Australian secondary schools each year. Currently Broadway model musicals are often performed as the content of these school productions. The examination of the secondary school production involved in this research focuses upon a Victorian coeducational government secondary school’s collaborative rewrite, rehearsal and performance of A Midsummer Night’s Dream.
Drawing from literature in Drama in Education, Theatre in Education, Applied Theatre, Australian Curriculum documents, Pedagogy, Authentic Learning, Extra-curricular education and Creativity, the question, ‘The school production – To be or not to be?’ Deals with the very nomenclature of the school production by examining the following two questions:
1. What are the experiences and benefits for the students involved in the authentic model of school production?
2. What is the teacher’s experience while working on an authentic school production?
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Meany, Michael M. "The performance of comedy by artificial intelligence agents." Thesis, 2014. https://vuir.vu.edu.au/25825/.
Full textAbstract:
The PhD project is composed of two parts: a creative project (thirty-five per cent of the total
research project); and an exegesis (sixty-five per cent). The creative project employs a pair of
chat-bots, natural language processing artificial intelligence agents, to act as comedian and
straight-man in a comedy performance based on a topic supplied by the user in a web-based
interface. This is an interdisciplinary project that draws on the domains of humour theory,
creativity theory, creative writing, and human-computer interaction theory to illuminate the
practice of comedy scriptwriting process in a new-media environment.
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(8787824), Zackry Michael Bodine. "Toward a Theopoetics of Poetry." Thesis, 2020.
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This paper presents Theopoetics, a theo-philosophical aesthetic movement that arose from the 1960’s Death of God theology, as a hermeneutical framework that accounts for both embodiment and the numinous in poetry. Through an examination of the life and poetic works of the disenfranchised religious poet, Thomas Merton, and a more religiously nebulous poet, Denise Levertov. This paper will present two different perspectives from these poets who encountered the need to qualify the numinous in their poetry and subverted that qualification through a theopoetic process.