Dissertations / Theses on the topic 'Creative writing research'
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Ware, Damien Lamont. "Borne the Battle; Creative Writing for Military and Personal Trauma." Cleveland State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=csu1592388118726987.
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Stevenson, Kylie J. "Creative River Journeys: Using reflective practice to investigate creative practice-led research." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/2025.
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This ‘Creative River Journey’ doctoral study explored the processes of art practice and knowledge-making by six artist–researchers engaged in creative higher degrees by research (HDR) at Edith Cowan University (ECU) in three arts disciplines—performing arts, visual arts, and creative writing. The study applied the Creative River Journey (CRJ) reflective practice strategy, originally applied as the River Journey tool in music education (Burnard, 2000; Kerchner, 2006), but further developed by the researcher into a three-phase reflective practice strategy for its application in complex practice-led research projects over the extended period of the participants’ HDR studies. Six rich cases studies of HDR artist– researchers, and their reflective practice and practice-led research, resulted. The researcher took an a/r/tographical approach (Irwin & de Cossen, 2004) and specifically focused on inquiring into the intersection between arts practice, practice-led research, and HDR creative arts training and pedagogy. The study addresses three questions in relation to these three concepts about what the application of the CRJ strategy to the creative process elucidated for, and about, the HDR artist–researcher. A fourth question addresses the experiences and evaluations by participants of the CRJ strategy.
The ‘Creative River Journey’ study aimed to examine the way that reflective practice and the CRJ reflective strategy might add to emerging practice-led research methodologies for individual artist–researchers and the field of practice-led in general. In the past decade, there has been a significant continued discussion about the nature of research in the creative arts (for example, Nelson, 2013; Barrett & Bolt, 2007; Smith and Dean, 2009). This study adds the perspective of the HDR artist–researcher engaged in a creative arts doctorate to this discussion. The study’s HDR perspective joins existing Australian contextual reviews of practice-led research, for example, effective supervision of creative practice higher degrees (Hamilton & Carson, 2013a), and examining doctorates in the creative arts (Webb, Brien & Burr, 2012). This study advances this discussion by providing rich case studies of HDR practice-led research from the outsider perspective of the researcher whilst, at the same time, providing a unique insider perspective as the researcher acts as a co-constructor of the participants’ reflective practice, and as the participants independently document their creative practice and reflective practice strategies.
This thesis will demonstrate that the CRJ reflective strategy is an innovative way of exploring the relationship between the creative and critical components in creative arts higher education degrees. The strategy generated knowledge about how each artist–researcher engaged in a meld of practice and research in the art-making process within practice-led research, and brought to light key critical moments in the practice-research nexus. Of consequence to the knowledge outcomes for the HDR artist–researchers in the study is how these captured the phenomena of their praxis, and thus was a useful documentation approach to their practice-led research. This thesis will make evident the ‘Creative River Journey’ study’s contribution to the rich established field of practice-led research in general, made possible through the deliberate pedagogical interventions of the CRJ reflective strategy.
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North, Sue, and n/a. "Relations of power and competing knowledges within the academy: creative writing as research." University of Canberra. Creative Communication, 2004. http://erl.canberra.edu.au./public/adt-AUC20051025.121424.
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The aim of this thesis is to explore the politics of discourse within Australian universities with particular reference to the position of creative writing as a research discipline. My thesis argues that some discourses have more power than others, with the effect that some forms of knowledge are seen as valid research and others as invalid, at least in research terms. Academic research has been increasingly dichotomised in the short history of research in Australian universities through issues of public versus private funding, and university concern for sector autonomy. The growing influence on university research, stemming from a global market economy, is one that privileges applied research. Creative writing�s position within a basic/applied dichotomy is tenuous as its practitioners vie for a place in the shrinking autonomous research sector of universities. I show the philosophical understanding of creativity (with specific reference to creative writing) from a historical perspective and explore this understanding in the current climate. This understanding of creativity confounds creative writing�s position as research, for this highlights the obstacles faced in certifying it as a valid form of knowledge. I investigate the current status of creative writing in the area of university research in relation to research equivalence, and examine the terminology, the social structures and individual experiences surrounding creative writing as a form of research.
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Simon, Gail. "Writing (as) systemic practice." Thesis, University of Bedfordshire, 2011. http://hdl.handle.net/10547/223012.
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This doctoral portfolio is a collection of papers and pieces of creative writing arising out of therapeutic, supervisory and training conversations and in relation to a wide range of texts. I have wanted to find ways of writing ethically so as to avoid objectifying people and appropriating their words, their life stories. I find ways of writing in which the values and practices of a collaborative, dialogical and reflexive ways of being with people are echoed in the texts. I show how writing and reading are relational practices in that I speak with the participants in the texts as well as with the reader and also with other writers. To do this, I experiment with a variety of written forms and employ literary devices so as to speak from within a range of practice relationships, from within inner dialogue, with real and fictitious characters. Technically and ethically, I try to write in a way which not only captures the sound of talk but which also speaks with the reader who would be reading, and perhaps hearing these accounts of conversation. By sharing a rich level of detail from my polyvocal inner dialogue, I invite the reader into a unique and privileged alongside position as a participant-observer in my work. Inspirational research methodologies include: writing as a method of inquiry, reflexivity, autoethnography, performance ethnography and transgression interpreted by many areas of systemic theory and practice. To support this innovative work, I offer several theoretical and practical papers offering novel developments on systemic practice theory. I situate systemic practice as a research method and demonstrate many family resemblances between systemic inquiry and qualitative inquiry. I offer a reflexive model for systemic practice and practice research which I call Praction Research which regards therapy and research as political acts requiring an activist agenda. Linked to this I politicise ideas of reflexivity by introducing local and global reflexivity and create a political connection with a concept of theorethical choices in theory and ethics in practice research. I propose a new form of ethnography suited to systemic practice, Relational Ethnography in which I draw attention to reflexive relationships between writer and readers, between the voices of inner and outer dialogue in research texts.
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Martin, Samuel James Louis. "The 'Lad Lit' dilemma : institutional influences on creative writing practice." Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/17032/1/Sam_Martin_-_eighteenth.pdf.
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This thesis consists of a novel, eighteenth, and an exegesis, The ‘Lad Lit’ Dilemma: Institutional influences on creative writing practice. It will address my research question; how did institutional factors surrounding the publishing category of Lad Lit influence my creative practice in drafting and re-drafting the novel eighteenth?
eighteenth is the story of Will Swift, a seventeen year-old Brisbane university student. Will is part of a close group of friends from high school. When he falls for Kate, family friend of his mate Simon, his first semester of study becomes more complicated than he might have expected. Will’s movement through these issues and character development is represented symbolically through four eighteenth birthday parties. The project’s exegesis then analyses the changing nature of the publishing industry in the last twenty years, and the implications of these changes for creative writers.
Together, the two elements of this practice-led research will articulate the shift in the balance between the cultural and commercial imperatives of publishers, explain the impact of this shift for the publishing category of Lad Lit, and explore the ramifications of this for creative writing practitioners.
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Martin, Samuel James Louis. "The 'Lad Lit' dilemma : institutional influences on creative writing practice." Queensland University of Technology, 2008. http://eprints.qut.edu.au/17032/.
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This thesis consists of a novel, eighteenth, and an exegesis, The ‘Lad Lit’ Dilemma: Institutional influences on creative writing practice. It will address my research question; how did institutional factors surrounding the publishing category of Lad Lit influence my creative practice in drafting and re-drafting the novel eighteenth?
eighteenth is the story of Will Swift, a seventeen year-old Brisbane university student. Will is part of a close group of friends from high school. When he falls for Kate, family friend of his mate Simon, his first semester of study becomes more complicated than he might have expected. Will’s movement through these issues and character development is represented symbolically through four eighteenth birthday parties. The project’s exegesis then analyses the changing nature of the publishing industry in the last twenty years, and the implications of these changes for creative writers.
Together, the two elements of this practice-led research will articulate the shift in the balance between the cultural and commercial imperatives of publishers, explain the impact of this shift for the publishing category of Lad Lit, and explore the ramifications of this for creative writing practitioners.
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Moessner, Meeka K. "The use of irritation in mood and character development in creative writing." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/116543/1/Meeka_Moessner_Thesis.pdf.
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This research project takes a practice-led approach to the study of negative emotions, to address the question of how their representation can feature as a basis of character response and influence in plot development in novels. l discuss irritation, in particular, as an affective mood in creative writing practice. Examination of case studies and my own creative practice will illustrate how writing devices are used to create a novel's overarching mood of irritation. I identify the potential that non-cathartic emotions have to promote plot development through the protracted experience of irritation, thereby leading to new possibilities of character response, and story.
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Murphy, Caroline. "Practice, pedagogy and policy : the influence of teachers' creative writing practice on pedagogy in schools." Thesis, Northumbria University, 2012. http://nrl.northumbria.ac.uk/13334/.
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This research aims to develop understanding of how teachers’ experience of practising creative writing influences pedagogy in schools. The research is located within a literary studies domain, responding to the context in which creative writing is most commonly taught in schools and in higher education. The central research question explored is: • How is the pedagogy of creative writing in schools influenced by teachers’ creative writing practice? The research explores the premise that creative writing practice has the potential to raise teachers’ ‘confidence as writers’, enabling them to ‘provide better models for pupils’ (Ofsted, 2009: p.6). This thesis examines what ‘creative writing practice’ means in the context of developing pedagogy; considers how creative writing is conceptualised by teachers; and investigates how teachers’ creative writing practice connects to pedagogic methods and approaches. The research sub questions that underpin the research are: • How has creative writing been conceptualised in educational policy, and how do these conceptions influence pedagogy in schools? • Does the practice of creative writing influence teachers’ conceptualisations of creative writing, and, if so, what is the impact on pedagogy? • Does the practice of creative writing influence teachers’ perceptions of themselves as writers, and, if so, what is the impact on pedagogy? • Does the experience of working with writers influence teachers’ pedagogic approaches in the classroom, and if so, how? The research includes a case study involving 14 primary and secondary school teachers, engaged in developing their own creative writing practice under the guidance of professional writers. The case study approach enables exploration of the research questions through analysis of participants’ lived experience of creative writing practice and pedagogy. The analysis of the case study at the heart of this research is situated within an interpretive framework, acknowledging the complexity of multiple meanings at play in socio-cultural learning contexts. The analysis draws on Bruner’s exploration of how pedagogical approaches imply conceptions of the learner’s mind and pedagogy (Bruner, 1996), and considers the interplay between teachers’ experiences of creative writing, and their choice of pedagogical methods and approaches.
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Philp, Alexandra. "Subversive sisters: Reimagining biological sisters as Gothic in fiction." Thesis, Queensland University of Technology, 2021. https://eprints.qut.edu.au/207282/1/Alexandra_Philp_Thesis.pdf.
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This thesis examines the potential of reimagining the Gothic to produce more complex representations of biological sisters when writing fiction. Through writing the novel, 'The Marble Platform', this project reveals how Gothic tropes of the double, transgression, and haunting can be adapted to facilitate subversive behaviour between fictional sisters. Recognising this subversive behaviour is crucial for expanding understandings of sisters in literary narratives, and for providing creative writers with a new approach for engaging with the Gothic tradition.
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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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Strydom, Gideon Louwrens. "Saligia." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1020884.
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When her life starts falling apart, a journalist and writer heads for a small rural town. Here the strange and wonderful tales about a local woman ignite her curiosity. As the town's secrets unravel she finds the truth behind all the fantasies. And in fighting her own demons she makes an unusual connection to this woman. She soon realises that this connection holds the key to her own salvation. Or her downfall.
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Bush, T. N. "Writing not drowning : an examination of the issues discussed in the novel Summer of Love, and of the creative and contextual research supporting its creation." Thesis, Bath Spa University, 2016. http://researchspace.bathspa.ac.uk/7762/.
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This PhD submission consists of a novel, 'The Summer of Love', and a supporting thesis. Together, novel and thesis comprise and address the research inquiry underpinning the novel's creation, namely: how is it possible to write fiction exploring political issues, the UK Government's treatment of disabled people and the associated stigmatisation of welfare dependents, without flattening the story or appearing partisan or divisive? Is it possible for this novelist to capture difficult truths from the political and social landscape in prose that combines humour with insight? 'The Summer of Love' is a darkly satirical novel in which Alex, a disabled journalist fallen on hard times, uncovers a story that could link the govenment to a euthanasia programme targeting disabled, elderly and vulnerable people. During her investigation, she inadvertently becomes part of the Ladies' Defective Agency, a group of disabled women running a phone sex company which, in turn, may or may not be fronting for the underground activist gang, BOUDICCA. Alex and her guide dog, Chris, must negotiate a world where anyone reliant on any form of welfare is pilloried, scapegoated and a potential target of hate crime, in order to bring the uncomfortable truth to an oblivious society. The novel intends to bring forward challenging ideas about compassion, human rights and equality, about disability and normalcy, reflecting my/our worst nightmares about the current welfare changes and their impact on disabled and vulnerable people. Following extensive research and experiment, several key creative techniques are specified and applied including: 1) Immersion in historical texts in order to write scenarios and characters that would create a resonance with the T4Aktion plans for Nazi Germany 2) Conscientious development of a fully rounded, three dimensional disabled protagonist, in order to reflect our shared human experience and not just a 'disabled' experience 3) The use of satire and humour to create further narrative empathy through a shared, cathartic response of laughter followed by understanding and 4) Employment of the notion of 'protective fictionality', allowing the reader to escape into a slightly more fantastical 'Other England', where they can imaginatively inhabit the minds of animals as well as people. This was done in the hope that a more relaxed reader would be a more amenable, empathic and absorbed one. By applying these creative tactics, I hope, 'The Summer of Love' creates strong narrative empathic connections with its readers that may lead to a greater understanding of the current climate of hostility and shame faced by vulnerable and disabled people in the UK today, whilst at the same time providing an entertaining and exhilarating read.
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Kimberley, Maree A. "Dirt Circus League : power and belonging in posthuman young adult fiction." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/75428/6/Maree_Kimberley_Exegesis.pdf.
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This creative practice-led thesis consists of a creative work titled Dirt Circus League, which tells of a female teenaged medical intuitive who follows an enigmatic cult leader to his isolated home in Cape York, and an exegesis. The exegesis explores the representations and complexities of neuroscience and posthumanism in contemporary young adult fiction. The exegesis also discusses how the mechanics of storytelling changed the novel's original focus from one of neuroscience in relation to impacts and effects on teenage brains to the broader social concerns of posthumanism.
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Przewloka, Christopher. "Southern Land, Hardened Heart: the possibility of Australian Neon Noir." Thesis, Queensland University of Technology, 2016. https://eprints.qut.edu.au/101077/1/Christopher_Przewloka_Thesis.pdf.
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This creative-based project discussed the potential of neon noir writing in Australia—a hardened style of crime fiction that investigates the dark underbelly of society. The craft-based research outlined how such fiction could be localised to examine our distinct history, culture, and politics. The associated creative work, a neon noir novel set in regional Queensland during the height of governmental corruption, was created in direct response to the discoveries of this research.
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Beyers, Marike. "How to open the door." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1011502.
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A collection of mostly lyrical poems. The poems explore moments of experience and thought relating to longing and belonging, in terms of relations, memory and place. The poems are mostly short and intense. Silence and implied meanings are often as important as what is said; shadows are evoked to recall substance. Though short, the poems are not tightly closed – on the contrary, meanings proliferate in the process of exploration
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Vivier, Lincky Elmé. "One leg at a time." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1012945.
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This collection of poems explores the boundaries between certainty and uncertainty, between the desire for meaning and the destabilisation of meaning. The content encompasses everyday life, love and loss, and the ambiguities are reflected in the forms used, so that, for instance, the linear continuity of narrative and the musicality of the lyric may be juxtaposed with the fragmented and imagistic leaps of the associative poem.
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Bila, Freddy Vonani. "Grieving forests." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1020880.
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This is a collection of village narrative poems mainly set in rural Limpopo that searches into the complexity of the past and how historical events impact on the present. Although the poems are imagined along the Marxist dialectic, they’re fresh imaginative creations featuring a strong element of surprise, spiritual mysticism, experimenting with form, delving into unknown poetic avenues, creating new music, exploring new sounds and taking risks. The long and intense poem, Ancestral wealth, which is a tribute to the poet’s father, reflects on death and its impact through the effective application of various stylistic elements and poetic devices, thus immortalising the life of a rural South African. Overall the poems, including retrospective and experimental ones, condemn the free market economic system and all that it seems to necessitate: the degradation of ecology, indifference to human suffering and the alienation of vulnerable social groups.
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Bamjee, Saaleha. "My grandmother breaks her hip." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1020881.
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A collection of narrative and confessional poems. The poems are mostly short, cinematic, physical, imagistic: moments in time. They explore the poet’s own life, body, memories, and family relationships, and the tensions between power, duty, love and faith. Several poems concern the navigation of meaning and belonging in a time when international urban culture often clashes with tradition.
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Thomas, Adèle. "Copycat." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1012984.
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An exchange programme involving students and academics from Egoli University in Johannesburg and the University of Athens provides the conduit for the smuggling of Venetian Grossi coins discovered on the Cycladic island of Naxos. Thirty-five year old Delancey James, a Professor of Ethics at Egoli University, stumbles upon events associated with the murder of a post-graduate student. Through her investigation, she uncovers a web of intrigue that links the coin smuggling to corruption at the highest levels of the University, and, in the process, her life is placed in mortal danger.
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Sutherns, Michael Courtney. "Sarkaiym." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1012998.
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The kingdom of Sansland situated on the Azanian Peninsula has been ruled by Sorricians, the sky people, ever since they landed on terra firma centuries ago. The indigenous population are forced to engage directly in the social and economic perpetuation of their own domination beneath the Sorrician heel. Until revolution flares in the antipodes, and soon, even the gods themselves seem to take an interest in the inevitable course of events. But all is not what it seems. The revolution appears to proceed too rapidly. The kingdom’s trade infrastructure collapses too easily. The Sorrician rulers are inexplicably and unrealistically confident in their ability to repel an attack on the capital. It will take a man of conscience, a regular soldier and a boy priest to restore appearances back to reality.
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Thurgood, Mikaila Rae. "Secrets I keep." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1015638.
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My mother had many failings. Her inability to cook. Her inability to work. Her inability to love. But her two biggest failings...those were the ones that had the potential to ruin my entire life, to ruin my brother’s life, to tear a family apart. More than anything, it was her inability to act. Claire is a young woman working in Johannesburg as a PA. She has few friends barring her au pair flatmate Beth and work colleague Marge. Her nights are spent trying to overcome the trauma of her past to find sexual fulfilment in a shallow world of one night stands. Whether she can set herself on a path towards a more normal life comes down to one crucial thing – forgiveness.
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Mokae, Sabata Paul. "Kedibone." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1020883.
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A young woman from a rural village near Kimberley is killed by her husband in a fit of jealousy. Her illiterate mother is summoned to the hospital to authorize the removal of vital organs – eyes, liver, kidney and heart – for organ donation. But some members of the family feel that their child should not be buried with parts of her body missing. Thus begins a story that changes the lives of many people, both black and white, over the following twenty years.
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Vedeler, Anne Hedvig Helmer. "Dialogical practices : diving into the poetic movement exploring 'supervision' and 'therapy'." Thesis, University of Bedfordshire, 2011. http://hdl.handle.net/10547/223011.
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This thesis explores a dialogical approach – in relation to supervision, therapy and research. I have as supervisor inquired into my relationship with groups of supervisees who were training to become family therapists or systemic practitioners. Through my doctoral portfolio, I speak from within my practice and I show in some detail the micro processes in relational encounters which help dialogue to evolve. I also address grand narratives about what it means to be a human being, and show how perceiving a human being as dialogical has extensive and governing consequences for how we think about a person’s movements in the world, how we think about them as person, in relation to other people, and how we understand problems, and approach problem solving. My research has been a doing, an experiencing and a creation of knowing in a reflexive flow. My research philosophy, mode of approaching my practice as therapist and supervisor (and as a person in the world) has reflexively been created through my being in practice. I show how an embodied belief in fluidity and complexity, enables me as supervisor to contribute to a space in the context of supervision which welcomes the freedom of a kind of orientation which is open towards situated, emerging, novel and provisional understanding. By attending to here-and-now interactions, becoming answerable in the moment and by embracing intuition, ambiguity and relational compassion, we have been able to welcome risk-taking and improvisation. This mode of dialogical supervision demonstrates a willingness to spontaneously dive into the uniqueness of every new encounter and every new movement. I see this as the poetics of the dialogical meeting. I have experienced how this space has opened up quite unexpected aspects of the supervisees’ experiences and has served as an incitement for them to question different aspects of their relationship to life. This has reflexively created a certain spirit and atmosphere that has invited us all to be bolder in our sharing and exploration of our lives, practice and our ideas. This thesis makes a contribution concerning: how we can be with people in ways that opens up more understanding and creates a sense of belonging and liberation; challenging and transgressively exploring discursive boundaries which attempt to define and fix what research is, what therapy is, what supervision is, and welcomes the infinity of opportunities and possibilities life may offer us. Thus I suggest that it may become significant for the profession to review the usefulness and legitimacy of distinct categorization between therapy and supervision. Through my choice of genre I offer the reader a possibility to respond emotionally as well as intellectually to my writing. I believe the way I have chosen to re-present my research through a mix of genre and evocative texts not ‘frozen’ findings, permits and anticipates novel ways of going on in relation to research in a manner that I don’t believe have been described in this way before within the community of family therapy and systemic practice.
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Wood, Andrea. ""Wonderfully ordinary" words from a romantic archive of Elizabeth Jolley's writing for students : Creative process as a garland of fragments." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1008.
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This project, including the visual artworks and poetry developed for the exhibition Wonderfully Ordinary, is the outcome of practice-led research into the creative process. Through creative practice—and the development of a personal and fragmentary process of invention—it aims to generate knowledge about creative practice as a form of philosophy in action. Drawing on Paul Carter’s concept of material thinking and historical ideas arising from Western Australian author Elizabeth Jolley’s (1923–2007)creative process and writing, it explores ways in which Friedrich von Schlegel’s (1772–1829) philosophical conception of the Romantic fragment might be revealed as a continuing idea of interest and tool for contemporary art production. It also asks how a creative engagement with the archive and the past to which its materials give access, might facilitate the production of new creative works. Critical to this is a set of understandings of history and the archive found in the writings of historian Carolyn Steedman. These understandings address what we can and can’t know about the past, and the transmission and reconfiguration of ideas over time. Ink is used—falling as words, drawings or blots on paper, and dust is applied as a metaphor for the possible interconnectedness between artists and viewers, our relationship to ideas and to nature. An archive of ink-blots: material translations of connections made between creative process and the chance processes of evolution—an exploration of the shared past of Romanticism and science as naturphilosophie—is the result of time spent with the zoological specimen collection at the University of Western Australia. Jörg Heiser’s writing on Romantic Conceptualism, historical understandings of the ink-blot and the artistic practices of Victor Hugo, Bas Jan Ader, Xu Bing and Mark Dion also inform the project. Importantly, the research arises from female experience: the personal challenge of the work of an artist seeking wholeness in the midst of professional and family life, and the fragmentary or increasingly divided and interrupted nature of ordinary days. The fragment and working fragmentarily suggest an alternative to a stereotyped conception of creative production as a necessarily uninterrupted and somehow separate activity conducted at a distance from quotidian concerns.
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McGowan, Lee Hugh. "Faster Than Words." Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/59448/1/FasterThanWords_LMcGowan.pdf.
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This practice-led research contextualises and advances the novel as a form within the fiction of football (commonly referred to as soccer in Australia). This is a field which has undergone very little academic scrutiny.
Through adapting and developing a distant reading model of abstraction and using it in conjunction with closer textual analyses, this research develops the first historiography of football fiction. The model is used to realise a set of broad conventions, map relationships across the body of work and identify growth areas. The thesis argues that football fiction exhibits qualities which warrant the works being described collectively as a genre. A comparison of young adult and adult football fictions will highlight the similarities and differences that occur in literary technique in texts aimed at these readerships, as they appear to be distinct to football fiction.
The generic conventions and identified divergences are used to inform and are reflected in an original novel-length work of young adult fantasy football fiction, entitled Blaming David Beckham. The objectives of this novel, as an extension to the research, are to explore and demonstrate the findings and advance the understanding of the generic elements of football fiction.
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Madingwane, June. "Kaffirmeid and other stories." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1015659.
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Biggs, Iain Adam. "A post-hoc elucidation and contextualisation of Between Carterhaugh and Tamshiel Rig : a borderline episode, taken as a model for 'writing up' creative practice-led doctoral research projects." Thesis, University of the West of England, Bristol, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.429529.
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The thesis argues that the artist's book Between Carlerhaugh and Tamshiel Rig: a borderline episode (2004) offers a valid and innovative model for writing-up creative practice-led research at doctoral level. It sets out a post-hoc elucidation and contextualisation of the creative / pedagogic / research position adopted there in the context of the wider 'politics' of the university sector. The Introduction provides aims and objectives, a rationale for the 'anthropological' methodology and 'polytheistic' terminology used, locating the project both generally and in the particular context of the AHRB bid that funded the book's production. Chapter One provides historical and pedagogic accounts of shifts from 'professional practice' to 'creative practice research' in the context of Gibbons et ai's discussion of 'knowledge production', seen in the context of the Research Assessment Exercise (RAE) and the politics of 'scientific' models of cultural evaluation. Both Apollonian and Hermetic perspectives are discussed. Chapter Two offers a discussion of the author's relevant research outputs between 1994 - 2005 as a context for the AHRB bid, raising issues of contingency, the 'metaphoric field', and Paul Ricoeur's 'Hermetic' understanding of 'new knowledge'. Chapter Three discusses the duel evaluation of Between Carlerhaugh and Tamshiel Rig and some of the implications arising from it. The conclusion claims the validity of the model for 'writing up' doctoral study has been demonstrated. Salient points identified include the voluntary accommodation between Hermetic and Hestian perspectives, issues of contingency and of 'approximate knowledge', both seen in the context of the work of Paul Ricoeur. The positive outcome of the double evaluation process is also cited. The author's contribution to the CHEAD paper Types of Research in the Creative Arts and Design is taken as further evidence that the project has made a contribution to the sector's self-understanding through a more accurate account of the psychosocial context within which research is conducted in the UK.
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Singh, Anirood. "Road to redemption." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1013035.
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Lurching from day-today in the months before South Africa becomes a republic, booze-befuddled Indian private investigator Rohit Biswas does not ponder how he can secure his daughter's future after he became a widower and lost his job as police detective when he killed a man who fatally stabbed his wife. Salvation appears when a rich client hires the PI to find evidence proving his son did not rape and murder a white socialite. Fighting against seeming impossible odds in colonial-apartheid Durban and a sanctions-busting conspiracy, Biswas secures his client's acquittal. In the process he defies karma and redeems himself.
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Mulligan, Kerry-Jane. "A distance too far away : a novel and exegesis." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/61025/1/Kerry_Mulligan_Thesis.pdf.
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This practice-led research examines the generative function of loss in fiction that explores themes of grief and longing. This research considers how loss may be understood as a structuring mechanism through which characters evaluate time, resolve loss and affect future change.
The creative work is a work of literary fiction titled A Distance Too Far Away. Aubrey, the story’s protagonist, is a woman in her twenties living in Brisbane in the early 1980s, carving out an independent life for herself away from her family. Through a flashback narrative sequence, told from the perspective of the twelve year narrator, Aubrey retraces a significant point of rupture in her life following a series of family tragedies. A Distance Too Far Away explores the tension between belonging and freedom, and considers how the past provides a malleable space for illuminating desire in order to traverse the gap between the world as it is and the world as we want it to be.
The exegetical component of this research considers an alternative critical frame for interpreting the work of American author Anne Tyler, a writer who has had a significant influence on my own practice. Frequently criticised for creating sentimental and inert characters, many critics observe that nothing happens in Tyler’s circular plots. This research challenges these assertions, and through a contextual analysis of Tyler’s Ladder of Years (1995) investigates how Tyler engages with memory and nostalgia in order to move across time and resolve loss.
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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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MANZI, LUCA. "L'AUTORE DI FICTION TELEVISIVA IN ITALIA, UNA RICERCA ETNOGRAFICA." Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/256.
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La tesi descrive il processo di ideazione e scrittura di lunga serialità in Italia attraverso l'osservazione etnografica di due scritture di fiction avvenute nel 2007; attraverso l'analisi etnografica si evidenziano le prassi professionali e le dinamiche interpersonali che si stabiliscono durante i processi di ideazione e scrittura, con particolare attenzione ai processi di negoziazione creativa e di differenze generazionali.Thesis describes the creative and writing process of two fiction series in Italy, through ethnographical observation of two writing processes which took place in 2007; through ethnographical analysis professional habits and interpersonal dynamics are underlined, during creative and writing process; spotlight has been put on creative negotiations processes and generational differences.
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Majola, Fundile Lawrence. "Good-Gooder-Goodest." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1015657.
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My stories are set in the townships, and move with the vigorous rhythms and jagged structures of township life. Some of them are written in English and others in isiXhosa. Some of the dialogue is township slang, a mixture of languages; and pure isiXhosa. The stories follow no particular pattern and are arranged according to any form of chronology, and different voices, at times as a man/boy and in others as a girl. The characters are not related each story perfectly stands for itself. Some of the stories hark back to the days of apartheid and are seen through the eyes of a child confused by the humiliations of his elders.Amabali am asekelwe ezilokishini yaye ahambelana neemeko ezimaxongo zokuphila zasezilokishini apho yaye amanye asukela kwixesha lengcinezelo yesizwe esimnyama. Imiba echatshazelwa kula mabali iquka intlupheko, intiyo kwakunye nokuphilisana koluntu ezilokishini, phantsi kwezo meko. Amabali la ndizame ukuwenza alandele indlela yokubalisa yhenkwenkwana enguSkhumba, ethi ibone iqwalasele iimeko zokuphila zabantu bohlanga lwayo. Ingqokelela esisiqendu sokuqala yona ibhalwe ze yangeniswa ngesiNgesi.
This thesis is presented in two parts: English and isiXhosa.
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Van, Luyn Ariella. "The artful life story : the oral history interview as fiction." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/60921/1/Ariella_Van_Luyn_Thesis.pdf.
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This practice-led PhD project consists of two parts. The first is an exegesis documenting how a fiction writer can enter a dialogue with the oral history project in Australia. I identify two philosophical mandates of the oral history project in Australia that have shaped my creative practice: an emphasis on the analysis of the interviewee’s subjective experience as a means of understanding the past, and the desire to engage a wide audience in order to promote empathy towards the subject. The discussion around fiction in the oral history project is in its infancy. In order to deepen the debate, I draw on the more mature discussion in ethnographic fiction. I rely on literary theorists Steven Greenblatt, Dorrit Cohn and Gerard Genette to develop a clear understanding of the distinct narrative qualities of fiction, in order to explore how fiction can re-present and explore an interviewee’s subjective experience, and engage a wide readership. I document my own methodology for producing a work of fiction that is enriched by oral history methodology and theory, and responds to the mandates of the project. I demonstrate the means by which fiction and the oral history project can enter a dialogue in the truest sense of the word: a two-way conversation that enriches and augments practice in both fields.
The second part of the PhD is a novel, set in Brisbane and based on oral history interviews and archival material I gathered over the course of the project. The novel centres on Brisbane artist Evelyn, who has been given an impossible task: a derelict old house is about to be demolished, and she must capture its history in a sculpture that will be built on the site. Evelyn struggles to come up with ideas and create the sculpture, realising that she has no way to discover who inhabited the house. What follows is a series of stories, each set in a different era in Brisbane’s history, which take the reader backwards through the house’s history. Hidden Objects is a novel about the impossibility of grasping the past and the powerful pull of storytelling.
The novel is an experiment in a hybrid form and is accompanied by an appendix that identifies the historically accurate sources informing the fiction. The decisions about the aesthetics of the novel were a direct result of my engagement with the mandates of the oral history project in Australia. The novel was shortlisted in the 2012 Queensland Literary Awards, unpublished manuscript category.
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Wood, Hannah. "Video game 'Underland', and, thesis 'Playable stories : writing and design methods for negotiating narrative and player agency'." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/29281.
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Creative Project Abstract: The creative project of this thesis is a script prototype for Underland, a crime drama video game and digital playable story that demonstrates writing and design methods for negotiating narrative and player agency. The story is set in October 2006 and players are investigative psychologists given access to a secure police server and tasked with analysing evidence related to two linked murders that have resulted in the arrest of journalist Silvi Moore. The aim is to uncover what happened and why by analysing Silvi’s flat, calendar of events, emails, texts, photos, voicemail, call log, 999 call, a map of the city of Plymouth and a crime scene. It is a combination of story exploration game and digital epistolary fiction that is structured via an authored fabula and dynamic syuzhet and uses the Internal-Exploratory and Internal-Ontological interactive modes to negotiate narrative and player agency. Its use of this structure and these modes shows how playable stories are uniquely positioned to deliver self-directed and empathetic emotional immersion simultaneously. The story is told in a mixture of enacted, embedded, evoked, environmental and epistolary narrative, the combination of which contributes new knowledge on how writers can use mystery, suspense and dramatic irony in playable stories. The interactive script prototype is accessible at underlandgame.com and is a means to represent how the final game is intended to be experienced by players. Thesis Abstract: This thesis considers writing and design methods for playable stories that negotiate narrative and player agency. By approaching the topic through the lens of creative writing practice, it seeks to fill a gap in the literature related to the execution of interactive and narrative devices as a practitioner. Chapter 1 defines the key terms for understanding the field and surveys the academic and theoretical debate to identify the challenges and opportunities for writers and creators. In this it departs from the dominant vision of the future of digital playable stories as the ‘holodeck,’ a simulated reality players can enter and manipulate and that shapes around them as story protagonists. Building on narratological theory it contributes a new term—the dynamic syuzhet—to express an alternate negotiation of narrative and player agency within current technological realities. Three further terms—the authored fabula, fixed syuzhet and improvised fabula—are also contributed as means to compare and contrast the narrative structures and affordances available to writers of live, digital and live-digital hybrid work. Chapter 2 conducts a qualitative analysis of digital, live and live-digital playable stories, released 2010–2016, and combines this with insights gained from primary interviews with their writers and creators to identify the techniques at work and their implications for narrative and player agency. This analysis contributes new knowledge to writing and design approaches in four interactive modes—Internal-Ontological, Internal-Exploratory, External-Ontological and External-Exploratory—that impact on where players are positioned in the work and how the experiential narrative unfolds. Chapter 3 shows how the knowledge developed through academic research informed the creation of a new playable story, Underland; as well as how the creative practice informed the academic research. Underland provides a means to demonstrate how making players protagonists of the experience, rather than of the story, enables the coupling of self-directed and empathetic emotional immersion in a way uniquely available to digital playable stories. It further shows how this negotiation of narrative and player agency can use a combination of enacted, embedded, evoked, environmental and epistolary narrative to employ dramatic irony in a new way. These findings demonstrate ways playable stories can be written and designed to deliver the ‘traditional’ pleasure of narrative and the ‘newer’ pleasure of player agency without sacrificing either.
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Barak, medina Eran. "Dramatizing Human Enhancement : how to turn a moral and social debate about a futuristic technology into a TV series screenplay." Thesis, université Paris-Saclay, 2020. http://www.theses.fr/2020UPASE007.
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Cette thèse de doctorat est un projet de «recherche à travers la création», qui a pour objectif d'explorer et d'éclairer le processus d'écriture d'un scénario pilote de série télévisée de science-fiction, qui traite du sujet moralement chargé de l'amélioration humaine.La science-fiction est un genre très important dans le monde en évolution rapide, avec sa technologie en constante évolution. Les romans de science-fiction, les films et les séries télévisées jouent un rôle majeur dans la création d'un discours social, moral et culturel sur la façon dont nous, en tant qu'humanité, pouvons et devons faire face aux technologies actuelles et futures et diriger notre évolution. L'amélioration humaine est l'une des technologies majeures dont l'évolution potentielle pourrait bouleverser et transformer la société et l'humanité de manière significative en offrant à l'humanité la possibilité de transcender la sélection naturelle et de contrôler son évolution.L'écrivain de science-fiction occupe une position unique dans laquelle il doit médier la science, la technologie et leurs possibilités psychologiques, morales et sociales sous forme d'histoire et de théâtre. Une fois réalisé avec tant de succès, le travail de l'écrivain de science-fiction peut offrir une valeur ajoutée en contribuant au discours social.La recherche de cette position unique, entre science, pertinence sociale et narration, est au cœur de ce travail. Son objectif est d'articuler des idées et des conceptualisations pour les considérations, les actions et les décisions créatives nécessaires pour accomplir ce type de défi.Pour ce faire, j'ai écrit deux scénarios de pilotes de télévision de science-fiction, une version antérieure et une version ultérieure. En parallèle, j'ai étudié le sujet de la valorisation humaine tant du point de vue scientifique que philosophique et social, ainsi que de la théorie et de la pratique de l'écriture de science-fiction, en mettant l'accent sur les récits traitant du développement humain et de la science-fiction actuelle. Séries télévisées. L'étude de l'amélioration humaine et de la science-fiction a contribué à la progression de l'écriture, du scénario initial au dernier, ce que j'estime plus satisfaisant pour atteindre les deux objectifs. une bonne représentation des enjeux sociaux et moraux de la valorisation humaine et de la réalisation du potentiel dramatique du sujet.Cette thèse comprend les scénarios et autres supports créatifs, précédés d'un essai critique qui décrit l'étude du perfectionnement humain et de la science-fiction, et analyse l'évolution du processus d'écriture menant au scénario final.Les enseignements tirés de la recherche soulignent l'importance de la compréhension de l'écrivain de science-fiction de la technologie sur laquelle il écrit (ou du «novum» - le créateur de différence technologique / scientifique); créer une prémisse d'histoire qui dérive de la technologie; explorer les différents aspects moraux, psychologiques et sociaux de la technologie choisie et les traduire en conflits d'histoire et en motivations de caractère; et prendre des décisions du monde de l'histoire qui répondent le mieux aux questions thématiques que l'auteur veut transmettreThis PhD dissertation is a “research-through-creation” project, which set out to explore and gain insights from the process of writing a science fiction TV series pilot screenplay, that deals with the morally charged subject of human enhancement.Science fiction is a very important genre in today's rapidly changing world, with its continuously advancing technology. Science fiction novels, movies and TV series play a major role in creating a social, moral and cultural discourse about how we, as humanity, can and should deal with current and future technologies and lead the way we evolve. Human enhancement is one of the major technologies which' potential evolvement could disrupt and change society and humanity in a significant way by offering humankind the possibility to transcend natural selection and control how it will develop. The science fiction writer is in a unique position in which he/she needs to mediate science, technology and their psychological, moral and social possibilities in the form of story and drama. When done so successfully, the science fiction writer's work can offer value by contributing to the social discourse. Researching this unique position, between science, social relevance and storytelling, is at the heart of this work. Its objective is to articulate insights and conceptualizations for the considerations, actions and creative decisions required to accomplish this kind of a challenge.To do so I have written two science fiction TV pilot screenplays, an earlier version and a later version. In parallel, I have studied the subject of human enhancement both for its scientific aspect and its philosophical and social aspect, and also studied about the theory and practice of science fiction writing, with an emphasis on stories that deal with human enhancement and current science fiction TV series. The two lines of work inter-related and complement each other.The study of human enhancement and science fiction took part in the progression of the writing from the initial screenplay to the final one, which is considered by me to be more satisfactory in achieving both a good representation of the social and moral issues of human enhancement, and in fulfilling the dramatic potential of the subject.This dissertation includes the screenplays and other creative materials, preceded by a critical essay which describes the study of human enhancement and science fiction, and analyzes the development of the writing process leading up to the final screenplay. The insights gained from the research highlight the importance of the science fiction writer's understanding of the technology he writes about (or the “novum” – the technological/scientific difference-maker); creating a story premise which as a derivative of the technology; exploring the different moral, psychological and social aspects of the chosen technology and translating those to story conflicts and character motivations; and making story-world decisions that best serve the thematic issues the writer wants to convey
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Crabb, Dawn Nora. "Navigating the Wreck: Writing women’s experience of the Japanese Occupation of Singapore. Salvaged from the Wreck: A novel -and- Diving into the Wreck: A critical essay." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2021. https://ro.ecu.edu.au/theses/2416.
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This thesis is in two parts. The first and major part consists of a historical novel followed, in part two, by an essay. The title of this thesis, “Navigating the Wreck”, refers metaphorically to the Fall of Singapore in 1942, the ensuing human tragedy unleashed on the people of Singapore and Malaya, and the literary and historical processes of exploring, interpreting and depicting the past. The Japanese occupation of Singapore has, to date, been described mostly by Western historians and former prisoners of war who have forged a predominant patriarchal narrative. In that narrative—despite the all-encompassing nature of the occupation and the cataclysmic effect it had on civilians—women are virtually invisible.
The objective of this thesis is to privilege women’s experiences by ethically gathering, analysing and re-imagining the accounts of a group of women of different ethnic and cultural backgrounds—Chinese, Indian, Malay, Eurasian—who lived through the occupation, using historical fiction to engage as broad a readership as possible. As well as literary praxis, research centres on analysis of relevant literature, including eight ethnically diverse published female memoirs and eleven women’s oral histories held by the National Archive of Singapore.
The essay discusses the artefact-centred, pragmatic and self-reflexive bricolage approach of this thesis, its feminist and phenomenological framework and my ethical responsibility and outsider authorial position as a white Australian woman reliant on local witness accounts. Feminist concerns addressed in the thesis are invisibility, plurality and intersectionality and I adopt a critical feminist phenomenology based on five aspects of Simone de Beauvoir’s The Second Sex to discuss the aims and the research and writing processes of the thesis.
Working within that framework, I summarised and categorised female oral interview data from audio and written transcripts enabling comparison of each woman’s individual experience of the war and the effects that the occupation had on each woman’s life situation, revealing a diverse set of experiences, some of which influenced my literary choices. By immersing myself in the particular remembered experiences of each of the female interviewees and considering their stories against the tapestry of my own extensive lived experience of the physical, cultural and social world of Singapore, as well as an in-depth investigation of other historical data and male and female written memoirs, I identified gaps and silences that needed to be addressed. These include the strategic household, wage earning, food-supplying and charitable role that women played in the dangerous and difficult situation of the occupation as well as the ignored or marginalised active participation of women in Singapore’s pre-war anti-colonial communist movements, support for and armed participation in anti-Japanese activities in China as well as the jungle-based guerrilla militias in Malaya, and the urban anti-Japanese underground in Singapore.
The essay weaves the creative thinking and practical processes of researching and writing the novel through discussion of practice, literature, theory, methodology and craft, retrieving and exposing what is usually submerged in the creative process to indicate a matrix of production.
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Suvilehto, P. (Pirjo). "Lasten luova kirjoittaminen psyykkisen tulpan avaajana:tapaustutkimus pohjoissuomalaisen sairaalakoulun ja Päätalo-instituutin 8–13-vuotiaiden lasten kirjoituksista." Doctoral thesis, University of Oulu, 2008. http://urn.fi/urn:isbn:9789514288661.
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Abstract The empirical material for studying children's creative writing was collected in Taivalkoski, Lapland (a basic education course at Päätalo Institute, ten girls), and Oulu, Northern Finland (a creative writing project in a hospital school, two girls and two boys), in spring 2000. I was the instructor at the courses as well as the researcher. The children were 8–13 years in age. The subject of my study consists of the stories written by the children: what sort of stories they write and how creative writing suits hospital and school environments. I also look into bibliotherapy conducted among children and young people. In my study I describe, analyse and interpret by means of qualitative research the courses in creative writing offered by Päätalo Institute and the hospital school. As case studies, these two are stand-alone studies independent of each other. By qualitative approach in this work I mean that I describe how I build my interpretation as a researcher. The stories written by children provide material externalised from the subconscious as stories and writings which it is possible to interpret from a depth-psychological point of view. Sigmund Freud's understanding of dreams as manifestations of subconscious fears and hopes acquires a new form in the horror stories children write. The child works his or her activated energy charge through manipulating the dream-like and violent elements in stories in a controlled manner: by writing. In bibliotherapy, one studies one's own feelings, thoughts and memories and compares them to the experiences of others. This sort of work on feelings, thoughts and memories seemed to take place especially in the writer projects of the hospital school children: they worked on emotional processes while writing. On the basis of my study, creative writing and bibliotherapy offer a child or a young person a means for working out, at both conscious and subconscious levels, matters relating to the present stage of his or her development and current life condition. While writing, the child deals with his or her relations to friends, parents and the self. He or she treats hobbies and other topics of interest but problems as well. Studies already provide information as to the positive effects of bibliotherapy – reading and writing both have therapeutic effects – but more in-depth research is required. My dissertation shows that groups using bibliotherapy can function in the field of paediatric and adolescent psychiatry in homes for children and adolescents. They can also function in the environment of youth clubs and schools with bibliotherapy as a creative literary art activity to deter problems and foster growth and development. The method I developed, the Fantasy Treasure Chest (Fantasian aarrearkku), is one that can be taken in more general use for both instructing creative writing and collecting research materialTiivistelmä Lasten luovan kirjoittamisen tutkimuksen empiirinen aineisto kerättiin keväällä 2000 Taivalkoskella (Päätalo-instituutin sanataiteen perusopetuksen jakso, 10 tyttöä) ja Oulussa (sairaalakoulun luovan kirjoittamisen projekti, 2 tyttöä, 2 poikaa). Toimin itse sekä tutkijana että kurssien ohjaajana. Lapset olivat 8–13-vuotiaita. Tutkimuskohteina olivat lasten kirjoittamat tarinat: millaisia tarinoita he kirjoittavat, ja miten luova kirjoittaminen sopii sairaala- ja koulukontekstiin. Tein myös katsauksen lasten ja nuorten parissa toteutettuun kirjallisuusterapiaan. Tutkimuksessani kuvaan, analysoin ja tulkitsen laadullisen tutkimuksen keinoin Päätalo-instituutin ja sairaalakoulun luovan kirjoittamisen kursseja. Nämä ovat tutkimustapauksina itsenäisiä, toisistaan riippumattomia kokonaisuuksia. Laadullinen lähestymistapa työssäni on sitä, että kuvaan, miten tutkijana rakennan tulkintaani. Lasten kirjoittamista tarinoista löytyy tiedostamattoman materiaalia ulkoistuneina tarinoiksi ja kirjoituksiksi, jotka avautuvat syvyyspsykologisesta näkökulmasta tulkittuina. Sigmund Freudin käsitykset unista pelkojen ja toiveiden tiedostamattoman ilmentyminä saavat uudenlaisen muotonsa esimerkiksi lasten kirjoittamissa kauhukertomuksissa. Tarinoiden unenomaisten ja väkivaltaisten elementtien kautta lapsi käsittelee aktivoitunutta energialataustaan hallitussa muodossa: kirjoittamalla. Kirjallisuusterapiassa tutkitaan omia tunteita, ajatuksia ja muistoja, ja näitä verrataan toisten kokemuksiin. Tätä tunteiden, ajatusten ja muistojen käsittelyä näytti tapahtuvan etenkin sairaalakoulun lasten kirjoittajaprojektissa: lapset työstivät kirjoittamisen ohessa psyykkisiä prosessejaan. Tutkimukseni perusteella lasten luova kirjoittaminen ja kirjallisuusterapia tarjoavat lapselle ja nuorelle väylän työstää meneillään olevaan kehitysvaiheeseen ja elämäntilanteeseen liittyviä asioita sekä tietoisella että tiedostamattomalla tasolla. Lapsi käsittelee kirjoittaessaan suhdettaan kavereihin, vanhempiinsa ja itseensä. Hän käsittelee kirjoittamalla harrastuksiaan ja mielenkiinnonkohteitaan mutta myös ongelmiaan. Tutkimukset kertovat kirjallisuusterapian myönteisistä vaikutuksista – lukemisella ja kirjoittamisella on terapeuttinen vaikutus – mutta tarvitaan vielä perusteellisempia tutkimuksia. Väitöskirjani osoittaa, että kirjallisuusterapeuttisia ryhmiä voi toimia lasten- ja nuorisopsykiatriassa ja lasten- ja nuorisokodeissa sekä sanataidetoimintana ennaltaehkäisevänä, kasvua ja kehitystä tukevana ryhmätoimintana kerhoissa ja kouluissa. Kehittelemäni Fantasian aarrearkku -menetelmä on yksi keino käyttöön otettavaksi niin luovan kirjoittamisen ohjaukseen kuin tutkimusmateriaalin keräämiseenkin
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Forkapa, Dan. "The Other Side of Fun." Cleveland State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=csu1513106622529833.
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Spiro, Jane Roberta. "How I have arrived at a notion of knowledge transformation, through understanding the story of myself as creative writer, creative educator, creative manager, and educational researcher." Thesis, University of Bath, 2008. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.487494.
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My aim in this thesis is to tell the story/stories of how I arrived at a living theory of creativity which I shall call ‘knowledge transformation’. I explore this theory through ‘story’ as a methodology that connects both the creative writer and action researcher, and raises questions about self, reflective process and voice that are central to my enquiry. In telling these stories, I ask the question: what does it mean to be creative, as a writer, an educator and a manager? Is the nature of creativity transferable across each of these roles? How has this knowledge improved my practice as an educator? My examination leads to a theory of learning called ‘knowledge transformation’, which suggests that deep learning leads to change of both the learner and what is learnt. My premise is that ‘knowledge transformation’ involves the capacity to respond to challenge, self and other, and is central to the notion of creativity. I consider how far this capacity can be transferable, teachable and measurable in educational contexts, arriving at a notion of ‘scaffolded creativity’ which is demonstrated through practice in the higher academy. My journey towards and with this theory draws on my experience of four personae, the creative writer in and outside the academy, and the educator, team leader, and researcher within it; and explores the strategies and issues raised by bringing these roles and intelligences together. This theory of ‘knowledge transformation’ represents an aspirational contribution to our understanding of what it means to be ‘creative’. It explores how educational objectives can lead to deep learning and positive change. It also explores how values can be clarified in the course of their emergence and formed into living standards of judgment.
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Combrink, Anneretha. "Die rol van oraliteit en identiteit in die bevordering van gemeenskapseie woordkuns in Suid–Afrika / A. Combrink." Thesis, North-West University, 2010. http://hdl.handle.net/10394/4819.
Full textAbstract:
Daar is baie onbeskryfde ruimtes en identiteite in Suid–Afrika; gemeenskappe waarvan die woordkunspotensiaal van die vertellers en skrywers nie ontgin is nie. Die kompleksiteit van die Suid–Afrikaanse samelewing, veral met betrekking tot taal en die geletterdheidskontinuum, veroorsaak dat gemeenskapseie woordkunsprojekte nie op n eendimensionele vlak beskou kan word nie. In een gemeenskap is daar byvoorbeeld lede wat steeds in die mondelinge tradisie funksioneer, maar ook ander vir wie die skriftelike tradisie toeganklik is. n Nuwe, sogenaamde “sekondêre mondelinge tradisie” speel ook n rol, en daar is komplekse intervlakke tussen hierdie tradisies. In elke gemeenskap deel mense mini–narratiewe met mekaar, maar is daar ook meesternarratiewe waardeur die betrokke gemeenskap, en die samelewing as geheel, beïnvloed word.
Die oorkoepelende doel van die studie is om vas te stel watter rol oraliteit en identiteit speel in die bevordering van gemeenskapseie woordkuns in Suid–Afrika.
As navorsingsmetode word daar vanuit n heuristiese en interpretatiewe benadering afleidings uit bestaande literatuur en gevallestudies gemaak. Die studie bestaan uit n teoretiese en praktiese deel. Die teoretiese deel behels n metateoretiese raamwerk wat uit die literatuurstudie gevorm word. Dit vorm as't ware die “bril” waardeur die res van die studie beskou word. Drie teoretiese sfere word betrek, naamlik (1) identiteit en ruimte, (2) die woordkuns en (3) gemeenskapsontwikkeling. Tydens die praktiese deel word daar veral van die praktykgebaseerde navorsingsmetode gebruik gemaak, asook op deelnemende waarneming en outo–etnografie gesteun. Insigte word uit twee gevallestudies oor gemeenskapseie woordkunsprojekte en die bespreking van n aantal eenmalige woordkuns–projekte verkry.
Uit beide die teoretiese en praktiese dele van die navorsing word sekere merkers afgelei wat vir die skep van n model ter bevordering van die woordkuns in Suid–Afrika gebruik word. Die model is nie algemeen geldend nie; dit bied slegs beginsels wat as riglyne in die bevordering van gemeenskapseie woordkuns kan dien.
Na afloop van die navorsing word tot die gevolgtrekking gekom dat beide oraliteit en identiteit n sentrale rol in die woordkuns van gemeenskappe speel. Daar word gevind dat daar verskeie verbande bestaan tussen die identiteit en ruimte van n gemeenskap en die manier waarop hulle hulself in woordkuns uitdruk. Verder word vasgestel dat n deelnemende benadering tot gemeenskapsontwikkeling as n toepaslike filosofiese raamwerk vir gemeenskapseie woordkunsprojekte kan dien. Die benadering word ook (met inagneming van die konsepte ruimte en identiteit) as raamwerk vir die ontwikkeling van die model ter bevordering van gemeenskapseie woordkuns gebruik.Thesis (Ph.D. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2011.
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Le, Roux Anmar. "Die kreatiewe skryfonderrigproses - ‘n outo-etnografiese studie." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/5404.
Full textAbstract:
Thesis (MEd (Education))--University of Stellenbosch, 2010.AFRIKAANSE OPSOMMING: Hierdie verhandeling het ontstaan uit die behoefte om navorsingsgeleenthede binne die kreatiewe dissipline van skryfkuns te ondersoek. Dit bied aan die hand van outo-etnografiese en narratiewe skrywes die ervaringe en gevolgtrekkinge van twee spesifieke navorsingsgeleenthede. Die geleenthede bied insig in die voorgestelde wyses waarop kreatiewe skryf onderrig kan word, deur die stimulering van verbeelding en die integrasie van ervaringsgerigte aktiwiteite in die pre-skryffase. Die eerste geleentheid doen verslag oor „n skryfwerkswinkel in die Paarl op uitnodiging van die Taalmuseum en -monument, terwyl die tweede geleentheid in samewerking met LAPA Uitgewers „n boekproses vir Graad 7-leerders tot gevolg het. Die verhandeling bestaan uit vier interafhanklike afdelings in stede van hoofstukke. Dit behels „n metodologiese afdeling (A), wat die studie akademies verwoord en daarstel; twee praktiese afdelings (B en C) met „n vervlegde literatuurstudie in afdeling B; en „n samevattende afdeling (D) wat die gevolgtrekkinge en implikasies bespreek. Verder meer bied die studie „n oorsig van vier belangrike fases in die lewe van die navorser met betrekking tot „n persoonlike kreatiewe skryfreis.
ENGLISH ABSTRACT: This study originated out of the need to explore and study research opportunities from within die creative discipline of the writing art. Through autoethnographic and narrative writing, it explores the experience and conclusions of two very specific research opportunities. These opportunities provide insight with regards to the suggested ways in which creative writing can be taught, through the stimulation of imagination and the integration of experience based activities in the pre-writing phase. The first opportunity reports on a creative writing workshop in Paarl on invite of the Taalmuseum and monument, while the second opportunity in cooperation with LAPA Publishers entails a book process for Grade 7 learners. The study consists out of four interdependent divisions rather than chapters. It entails a methodological division (A) that gives academic structure and support to the study, two practice based divisions (B and C) with weaved literature in division B and a summary division (D) with conclusions and implications. Further more, the study integratively provides an oversight of four important phases in the life of the researcher with regards to a personal creative writing journey.
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Elder, Cristyn L., Anna V. Knutson, Katherine Daily O'Meara, and Elizabeth Leahy. "Creating Tools for WAC/WID Research and Development at Diverse Institutions and Programs." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/5482.
Full textAbstract:
Directors of WAC, writing programs, and a writing center share tools created for early WAC/WID research, how they were used, what they learned from creating these research tools, and the next steps for moving forward with their research. Attendees will be invited to discuss the creation of their own tools.
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Simpson, Inga Caroline. "Lesbian detective fiction : the outsider within." Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/20120/1/Inga_Simpson_Exegesis.pdf.
Full textAbstract:
Lesbian Detective Fiction: the outsider within is a creative writing thesis in two parts: a draft lesbian detective novel, titled Fatal Development (75%) and an exegesis containing a critical appraisal of the sub-genre of lesbian detective fiction, and of my own writing process (25%). Creative work: Fatal Development -- It wasn’t the first time I’d seen a dead body, but it didn’t seem to get any easier. -- When Dirk and Stacey discover a body in the courtyard of their Brisbane woolstore apartment, it is close friend and neighbour, Kersten Heller, they turn to for support. The police assume Stuart’s death was an accident, but when it emerges that he was about to take legal action against the woolstore’s developers, Bovine, Kersten decides there must be more to it. Her own apartment has flooded twice in a month and the builders are still in and out repairing defects. She discovers Stuart was not alone on the roof when he fell to his death and the evidence he had collected for his case against Bovine has gone missing. Armed with this knowledge, and fed up with the developer’s ongoing resistance to addressing the building’s structural issues, Kersten organises a class action against Bovine. Kersten draws on her past training as a spy to investigate Stuart’s death, hiding her activities, and details of her past, from her partner, Toni. Her actions bring her under increasing threat as her apartment is defaced, searched and bugged, and she is involved in a car chase across New Farm. Forced to fall back on old skills, old habits and memories return to the surface. When Toni discovers that Kersten has broken her promise to leave the investigation to the police, she walks out. The neighbouring – and heritage-listed – Riverside Coal development site burns to the ground, and Kersten and Dirk uncover evidence of a network of corruption involving developers and local government officials. After she is kidnapped in broad daylight, narrowly escaping from the boot of a moving car, Kersten is confident she is right, but with Toni not returning her calls, and many of the other residents selling up, including Dirk and Stacey, Kersten begins to question her judgment. In a desperate attempt to turn things around, Kersten calls on an old Agency contact to help prove Bovine was involved in Stuart’s death, her kidnapping, and ongoing corruption. To get the evidence she needs, Kersten plays a dangerous game: letting Bovine know she has uncovered their illegal operations in order to draw them into revealing themselves on tape. Hiding alone in a hotel room, Kersten is finally forced to confront her past: When Mirin didn’t come home that night, I was ready to go out and find her myself, disappear, and start a new life together somewhere far away. Instead they pulled me in before I could finish making arrangements, questioned me for hours, turned everything around. It was golden child to problem child in the space of a day. This time, she’s determined, things will turn out differently. Exegesis: The exegesis traces the development of lesbian detective fiction, including its dual origins in detective and lesbian fiction, to compare the current state of the sub-genre with the early texts and to establish the dominant themes and tropes. I focus particularly on Australian examples of the sub-genre, examining in detail Claire McNab’s Denise Cleever series and Jan McKemmish’s A Gap in the Records, in order to position my own lesbian detective novel between these two works. In drafting Fatal Development, I have attempted to include some of the political content and complexity of McKemmish’s work, but with a plot-driven narrative. I examine the dominant tropes and conventions of the sub-genre, such as: lesbian politics; the nature of the crime; method of investigation; sex and romance; and setting. In the final section, I explain the ways in which I have worked within and against the subgenre’s conventions in drafting a contemporary lesbian detective novel: drawing on tradition and subverting reader expectations. Throughout the thesis, I explore in detail the tradition of the fictional lesbian detective as an outsider on the margins of society, disrupting notions of power and gender. While the lesbian detective’s outsider status grants her moral agency and the capacity to achieve justice and generate change, she is never fully accepted. The lesbian detective remains an outsider within. For the lesbian detective, working within a system that ultimately discriminates against her involves conflict and compromise, and a sense of double-play in being part of two worlds but belonging to neither. I explore how this double-consciousness can be applied to the lesbian writer in choosing whether to write for a mainstream or lesbian audience.
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Simpson, Inga Caroline. "Lesbian detective fiction : the outsider within." Queensland University of Technology, 2008. http://eprints.qut.edu.au/20120/.
Full textAbstract:
Lesbian Detective Fiction: the outsider within is a creative writing thesis in two parts: a draft lesbian detective novel, titled Fatal Development (75%) and an exegesis containing a critical appraisal of the sub-genre of lesbian detective fiction, and of my own writing process (25%). Creative work: Fatal Development -- It wasn’t the first time I’d seen a dead body, but it didn’t seem to get any easier. -- When Dirk and Stacey discover a body in the courtyard of their Brisbane woolstore apartment, it is close friend and neighbour, Kersten Heller, they turn to for support. The police assume Stuart’s death was an accident, but when it emerges that he was about to take legal action against the woolstore’s developers, Bovine, Kersten decides there must be more to it. Her own apartment has flooded twice in a month and the builders are still in and out repairing defects. She discovers Stuart was not alone on the roof when he fell to his death and the evidence he had collected for his case against Bovine has gone missing. Armed with this knowledge, and fed up with the developer’s ongoing resistance to addressing the building’s structural issues, Kersten organises a class action against Bovine. Kersten draws on her past training as a spy to investigate Stuart’s death, hiding her activities, and details of her past, from her partner, Toni. Her actions bring her under increasing threat as her apartment is defaced, searched and bugged, and she is involved in a car chase across New Farm. Forced to fall back on old skills, old habits and memories return to the surface. When Toni discovers that Kersten has broken her promise to leave the investigation to the police, she walks out. The neighbouring – and heritage-listed – Riverside Coal development site burns to the ground, and Kersten and Dirk uncover evidence of a network of corruption involving developers and local government officials. After she is kidnapped in broad daylight, narrowly escaping from the boot of a moving car, Kersten is confident she is right, but with Toni not returning her calls, and many of the other residents selling up, including Dirk and Stacey, Kersten begins to question her judgment. In a desperate attempt to turn things around, Kersten calls on an old Agency contact to help prove Bovine was involved in Stuart’s death, her kidnapping, and ongoing corruption. To get the evidence she needs, Kersten plays a dangerous game: letting Bovine know she has uncovered their illegal operations in order to draw them into revealing themselves on tape. Hiding alone in a hotel room, Kersten is finally forced to confront her past: When Mirin didn’t come home that night, I was ready to go out and find her myself, disappear, and start a new life together somewhere far away. Instead they pulled me in before I could finish making arrangements, questioned me for hours, turned everything around. It was golden child to problem child in the space of a day. This time, she’s determined, things will turn out differently. Exegesis: The exegesis traces the development of lesbian detective fiction, including its dual origins in detective and lesbian fiction, to compare the current state of the sub-genre with the early texts and to establish the dominant themes and tropes. I focus particularly on Australian examples of the sub-genre, examining in detail Claire McNab’s Denise Cleever series and Jan McKemmish’s A Gap in the Records, in order to position my own lesbian detective novel between these two works. In drafting Fatal Development, I have attempted to include some of the political content and complexity of McKemmish’s work, but with a plot-driven narrative. I examine the dominant tropes and conventions of the sub-genre, such as: lesbian politics; the nature of the crime; method of investigation; sex and romance; and setting. In the final section, I explain the ways in which I have worked within and against the subgenre’s conventions in drafting a contemporary lesbian detective novel: drawing on tradition and subverting reader expectations. Throughout the thesis, I explore in detail the tradition of the fictional lesbian detective as an outsider on the margins of society, disrupting notions of power and gender. While the lesbian detective’s outsider status grants her moral agency and the capacity to achieve justice and generate change, she is never fully accepted. The lesbian detective remains an outsider within. For the lesbian detective, working within a system that ultimately discriminates against her involves conflict and compromise, and a sense of double-play in being part of two worlds but belonging to neither. I explore how this double-consciousness can be applied to the lesbian writer in choosing whether to write for a mainstream or lesbian audience.
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Player, Glen J. "An investigation into a dramatic writing toolset for the creation of a new work of drama." Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/16394/1/Glen_Player_Thesis.pdf.
Full textAbstract:
In this exegesis I have attempted to formulate a primary toolset for dramatic writing that I can apply to create dramatic structure in plays, the chief example being my play Albatross (included herein). This toolset is contingent upon Aristotle's basic tenet of drama, that "tragedy is an imitation of an action" (2002: 10). This exegesis theorises that the work of modern writers on drama such as Spencer, Packard, Catron, Lamott, See, Hicks and many others, fundamentally accords with Aristotle on this point, such that the tools they espouse can collectively be considered a standard set for dramatic writing. Beyond this, my research has led me to believe that there is a primary subset of tools specific to creating dramatic structure. These tools, formulated from dramatic theory, best capture my own way of thinking about my writing practice. I divide them into two types: the first, tools of creation, comprise Theme and Values; Character and their Values; Characters and Action; Character Orchestration and Obstacles; and Event and Significant Change. The second, tools of evaluation, are Passivity; Stakes; and Premise. Together these eight tools have been responsible for creating dramatic structure in the play, Albatross.
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Player, Glen J. "An investigation into a dramatic writing toolset for the creation of a new work of drama." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16394/.
Full textAbstract:
In this exegesis I have attempted to formulate a primary toolset for dramatic writing that I can apply to create dramatic structure in plays, the chief example being my play Albatross (included herein). This toolset is contingent upon Aristotle's basic tenet of drama, that "tragedy is an imitation of an action" (2002: 10). This exegesis theorises that the work of modern writers on drama such as Spencer, Packard, Catron, Lamott, See, Hicks and many others, fundamentally accords with Aristotle on this point, such that the tools they espouse can collectively be considered a standard set for dramatic writing. Beyond this, my research has led me to believe that there is a primary subset of tools specific to creating dramatic structure. These tools, formulated from dramatic theory, best capture my own way of thinking about my writing practice. I divide them into two types: the first, tools of creation, comprise Theme and Values; Character and their Values; Characters and Action; Character Orchestration and Obstacles; and Event and Significant Change. The second, tools of evaluation, are Passivity; Stakes; and Premise. Together these eight tools have been responsible for creating dramatic structure in the play, Albatross.
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van, der Heijden Anna M. H. "Creating an Environmental Education Website at the Smithsonian Environmental Research Center." Miami University / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=miami1019050512.
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Richardson, Heather Evelyn. "Freethinkers : a novel ; and, Inventing history : how do research, imagination and memory fuse creatively in the writing of an historical novel?" Thesis, Open University, 2013. http://oro.open.ac.uk/54722/.
Full textAbstract:
'Freethinkers' fluttered into existence on a quiet morning in Belfast as I leafed through some old textbooks at work. A book entitled 'The Rise of Scientific Europe' caught my eye. There, in a section on Scotland's role in scientific progress, was a passing mention ofa curious story: 'In 1696 an 18-year-old Edinburgh University student was executed for denying some of the propositions of Christianity.' A cursory few minutes of internet research uncovered the story of Thomas Aikenhead. In spite of his youth, and the fact that he had neither published his irreligious thoughts nor sought to persuade others to his viewpoint, he had been hanged for blasphemy at the behest of an implacable Scottish Kirk. He was the last person in Britain to suffer the ultimate penalty for the crime. What was it about this event that drew me in? It can be hard to pin down exactly why certain ideas set a story in motion. Nevertheless, I will endeavour in this introduction to identify how this incident from Early Modern Scotland found some sort of echo in my own experience and thinking. When I encountered Thomas Aikenhead's story for the first time, I was preoccupied with the issue of religious faith. Over the preceding years I had moved from belief to unbelief. This transition had been gradual. It was (and still is) accompanied by a sense of both liberation and bereavement. The idea that a person might be executed for atheism - for a thought, rather than a deed - was unsettling. While Europeans from the Judeo-Christian tradition can console themselves that such punishments are - literally - a thing of the past, apostasy remains a dangerous path to follow in many other parts of the world. Thomas Aikenhead's story may be history, but the issues he wrestled with - of daring to believe outside the orthodoxy, or to disbelieve altogether - are still current for many people. Thomas was executed in the figurative darkness before the dawn of the Scottish Enlightenment, and this, perhaps, is another reason his story resonates with me. I am a Northern Irish Protestant, and as such am the cultural product of a peculiar mixture of literalist religiosity and the pragmatic outworking of the Scottish Enlightenment. The tension at the heart of the Northern Irish Protestant psyche shows a mindset that is pragmatic, hard-headed and innately sceptical, except when it comes to one specific area of the supernatural - Bible-based religious belief. The Enlightenment respect for rational thought co-exists oddly with unquestioning faith. As I did more research into the historical context in which Thomas's story unfolded I began to see parallels with recent Northern Irish history. The period from 1680 to 1688 in Scotland was one of appalling violence even by seventeenth-century standards. The 'Killing Time' was the culmination of tension between the officially sanctioned Church of Scotland and the Covenanters, who adhered to a more fundamentalist form of Presbyterianism. The Church of Scotland had been a source of anxiety for the monarchy almost from its inception. Unlike the Church of England it was not an established church, and had no bishops. The Stuart kings recognised that such independence was a potential threat to their authority, and tried to rein the church in by imposing an Episcopal structure and - in the case of Charles I - an Anglican-style prayer book. Opposition was expressed through the National Covenant of 1638 and the Solemn League and Covenant of 1643, and increasingly in skirmishes between Covenanters and the authorities. My approach in this critical commentary will be to examine how the novel took shape, and how my reading of both theory and creative work fed into this process. The focus will be on key issues of plot, structure and characterisation, as well as the overarching matter of how I enabled historical fact and creative invention to 'talk' to each other. Chapter Two will consider how other contemporary historical novelists have approached this latter issue, referring particularly to Umberto Bco and Kate Grenville, who have both written reflectively about their creative work. In addition to this I will refer throughout the thesis to other authors of both fiction and non-fiction whose example helped me find ways of bringing the ideas behind 'Freethinkers' to life. Chapter Three will examine my methodology of using primary source materials as an incitement to imagination and character creation, and will illustrate this through an analysis of my use of the various letters and pamphlets generated by Thomas's arrest, trial and execution. Throughout this critical commentary I will analyse the ways in which research, imagination and memory interact and catalyse each other during the creative process, and in Chapter Four I will examine how this fusion has transformed the story of Thomas Aikenhead from historical fact to historical fiction in 'Freethinkers'. The ambition of this critical commentary is to offer not only a 'narrative verdict' on the development of 'Freethinkers', but also to use a combination of analysis and intuition to understand the impulses that brought it into being.
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Armstrong, Keith M. "Towards an Ecosophical Praxis of New Media Space design." Thesis, QUT, 2003. https://eprints.qut.edu.au/9073/1/PHDTHESISKMAsmall.pdf.
Full textAbstract:
This study is an investigation in and through media arts practice. It set out to
develop a novel type of new media artistic praxis built upon concepts drawn from
the disciplines of scientific and cultural ecology. The rationale for this research was
based upon my observation as a practising new media artist that existing praxis in
the new media domain appeared to operate largely without awareness of the
ecological implications of those practices.
The thesis begins by explaining key concepts of ecology, spanning the arts and the
sciences. It then outlines the thinking of contemporary theorists who propose that
the problem of ecology is a critical issue for the 21st century, suggesting that our
well-documented ecological crisis is indicative of a more general crisis of human
subjectivity. It then records an investigation into particular strategies for artistic
praxis which might instigate an active engagement with this problem of ecology.
The study employed a methodology based in action research to focus upon the
development and analysis of three new artistic works, '#14', 'Public Relations' and
'transit_lounge'. These were used to explore diverse theories of ecology and to
hone a series of pointers towards Ecosophical arts/new media praxis. This journey
constitutes an emergent theory for new media space design.
The thesis concludes with a toolkit of tactics and approaches that other arts/new
media practitioners might employ to begin working on the problem of ecology.
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Minor, Sarah M. "Beasts of the Interior: Visual Essays." Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1554390195795843.
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