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Dissertations / Theses on the topic 'Non-fiction'
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1
Atencia-Linares, P. "Arts and facts : fiction, non-fiction and the photographic medium." Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1434513/.
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In this thesis, I deal with the rarely discussed issue of how the nature of a representational medium—in this case photography—affects or contributes to the classification of works as fiction or non-fiction, and I provide a novel view on the relation between photographs and documentary works. Part I focuses on issues concerning the nature of photographic representation, its special relation with the real and its purported fictional incompetence. Part II takes up issues concerning the nature of fiction and non-fiction with an emphasis on the category of non-fiction/documentary, and examines its application to photography. Firstly, I discuss the claim, put forward by Kendall Walton, according to which photographs, in virtue of being depictive, are or favour fiction. I deny that this is so, although I argue that Walton’s claim is frequently misunderstood. Then, I address the more intuitive claim that photographs favour non-fiction. I argue that, if this is so, it is not because photographs are fictionally incapable. Photographs, I claim, can depict ficta by photographic means. However, this is consistent with saying that photographs bear a special relation with the real: (1) photographs are typically natural ‘signals’; they are handicaps and indices (Green 2007, Maynard-Smith and Harper 2004)—and thereby typically factive; and (2) photographs are documental images, images that support an experience that preserves the particularity of the original scene. These features contribute to non-fiction/documentary. To see how, I discuss various views on the nature of documentary and I propose an alternative account based on Stacie Friend’s ‘Genre Theory’. Finally, I discuss the application of the categories of fiction and non-fiction to photography. I claim that although these are active genres in the medium, it is more accurate to speak about factual and non-factual photography, where the former is a more basic category. This, in turn, is a consequence of the nature of the medium itself.
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Etter, Julie-Anne. "Form and idea in the fiction and non-fiction of John Fowles." Thesis, Rhodes University, 1986. http://hdl.handle.net/10962/d1001830.
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Davis, Allegra. "Lining Up." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3683/.
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A creative, multi-genre collection that includes three personal essays (non-fiction) and two short stories (fiction). The pieces in this collection primarily focus on the themes of loneliness and waiting. It includes pieces dealing with homosexual relationships, friendships and heterosexual relationships. Collection includes the essays "The Line," "Why We Don't Talk about Christmas," and "Boys Who Kiss Back," and includes the short stories "I Am Allowed to Say Faggot" and "Dear Boy."
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Enticknap, Leo Douglas Graham. "The non-fiction film in post-war Britain." Thesis, University of Exeter, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302538.
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Pretorius, Sian Eve. "Non-fiction in fiction : poor whites in selected South African literary texts from 1900-1950." Diss., University of Pretoria, 2015. http://hdl.handle.net/2263/53455.
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The term poor white is not uncommon and neither is the whole phenomenon. The topic dominated much of the academic, media and entertainment spheres for the better part of the twentieth century. This dissertation examines poor whites in fiction and non-fiction and attempts to demonstrate that there is a certain overlap. Thus by combining the two types of literature it shows that the selected novels, written during the first half of the twentieth century by authors from the Realist genre, may be considered cultural historical sources in their own right in terms of portraying the daily lives and struggles of poor whites. This study considers the processes of combining fiction and non-fiction and the different types of sources written about the poor whites. The authors and the period in which they lived are examined to create a better understanding of the time context, the genre and the topic itself. The different types of poor whites and the different definitions of poor whites, in the academic sources, are compared to the poor whites who are portrayed in the novels and thus one could argue in popular consciousness. The different causes of poor white poverty in the academic texts are compared to those in the novels. Lastly, poor white women, a rather marginalised sector, are examined in terms of the volksmoeder concept and how the novels redefined the term.<br>Dissertation (MA)--University of Pretoria, 2015.<br>Historical and Heritage Studies<br>MA<br>Unrestricted
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Parrott, Deborah, and Reneé C. Lyons. "Adventure Driven Non-Fiction Spawns Reading and Scientific Learning." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/2374.
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Modern day children's and young adult non-fiction is replete with books which highlight scientific efforts (treks, safaris, journeys, expeditions) to confront environmental challenges , such texts prevalent in Siebert and Orbis Pictus listings. This presentation will build school librarian awareness of such adventurous selections, provide text-based activities conducive to collaborative efforts with science teachers (multiple grade levels will be addressed), and introduce reading promotion plans and activities based in these award-winning works of literature. First, as an icebreaker, attendees will be asked to imagine a world without...(one planted attendee will stand up with a picture of a species depicted in the books highlighted in the session. This will occur each time a new book is introduced as "breathers" and "attention-grabbers."). The program will open with awareness-based talks (book trailers, audio clips, and author interviews will also be shared) relaying the poignant documented rescue and preservation efforts found in such books, (for example, Parrots Over Puerto Rico). School librarians will discover the engaging nature of these selections based in science, yet perfect for pleasure reading. Next, participants will be provided real-world Common Core (ELA Standards) unit and lesson plan ideas which also contemplate science based standards (i.e. interpret information in charts, graphs, and diagrams). Essentially, participants will come away with the means of developing librarian/science teacher collaborative partnerships. Additionally, a reading promotion plan for each book featured will also be introduced. Participants will be encouraged to elaborate upon and/or provide comments in association with 1) associated texts; 2) collaborative lesson planning with science instructors; and/or 3) reading promotion based in STEM non-fiction materials.
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Sharp, L. Kathryn. "Using Non-fiction Texts in the Early Childhood Classroom." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/4267.
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Steinbach, Katherine. "Documentary adaptation: non-fiction transformations via cinema and television." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5643.
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Documentary and docudrama practices have expanded with increasingly convergent media. Cinema, television, and the web conspire to create new vehicles of information and entertainment. Footage is manipulated, reenacted, and narratively altered for viewers who must negotiate flexible and porous parameters of fact and fiction. Bill Nichols began a conversation about documentary’s “blurred boundaries” that has continued and intensified with scholars such as John Corner, Steven Lipkin, Alan Rosenthal, Vivian Sobchack, Derek Paget, and Jonathan Kahana. Documentary and docudrama techniques must be more closely scrutinized and categorized, with particular focus on the importance of reenactment and reflexivity.
A phenomenon that illustrates explicit interaction between documentary footage and fictional affect has remained undefined. My project proposes a new term, “documentary adaptation,” to explain the use of documentary films or television programs as source material for a fictional retelling. Films such as Rescue Dawn (2006), Grey Gardens (2009), Devil’s Knot (2013), or Loving (2016) have an uncanny and indeed literary relationship to previous documentary films conveying the same story. My research reads, theorizes, and contextualizes these adaptations. I note industrial and audience demand for narrative that engages with familiar facts. These unique dramas are sites of affective engagement with history as well as contemporary journalism. The project employs cinema and media studies terms and techniques to analyze documentary adaptation, to interpret a distinct merger of cinema and television aesthetics. This dissertation revises the dilemmas of documentary and reveals an invention to confront a new era of flexible media.
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Andrews, Gabriel M. "William Apess and Sherman Alexie: Imagining Indianness in (Non)Fiction." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/english_theses/97.
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This paper proposes the notion that early Native American autobiographical writings from such authors as William Apess provide rich sources for understanding syncretic authors and their engagement with dominant Anglo-Christian culture. Authors like William Apess construct an understanding of what constitutes Indianness in similar and different ways to the master narratives produced for Native peoples. By studying this nonfiction, critics can gain a broader understanding of contemporary Indian fiction like that of Sherman Alexie. The similarities and differences between the strategies of these two authors reveal entrenched stereotypes lasting centuries as well as instances of bold re-signification, a re-definition of Indianness. In analyzing these instances of re-signification, this paper focuses on the performance of re-membering, the controversy of assimilation/authenticity, accessing audience, the discourse of Indians as orphans, and journeys to the metropolis.
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Bell, Alice R. "Science as pantomime : explorations in contemporary children's non-fiction books." Thesis, Imperial College London, 2008. http://hdl.handle.net/10044/1/11844.
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This project explores a case study in children's science culture: Horrible Science, a UK based series aimed at 7-11 year olds. Children, I believe, are one of science communication's most interesting audiences. They are both potential members and potential outsiders of the scientific community, and Horrible Science produces a liminar identity to meet these two markets. I apply a metaphor of pantomime to help describe Horrible Science, partly because of the series' approach to using fiction and its style of audience participation. It is also panto-science because it is presented as a carnivalesque show, exciting and fun, laughing at authority. Horrible Science invites us to snigger at science's heroes and explore the hidden underside of both nature and of scientific work. However, I believe that this, at least in part, is largely a matter of excusing a type of earnest reverence, delight and excitement for science that had become unfashionable by the end of the 20th century. I investigate Horrible Science as an interesting phenomenon in its own right, but also because I hope to develop ideas about the popularisation of science. Since the early 1990s, theories on popular science have tended to describe popular science as sitting (obstructively) between scientists and the rest of the world. Its public audience are defined as receivers; the scientists, the providers. However, recent work from historians of 19th century science have critiqued this view, instead positioning popular science within a 'marketplace', full of empowered consumers choosing not only what cultural products to partake of, but who to trust and how far. I accept this emphasis on the marketplace, but with a less utopian view of consumer power which retains some of the scepticism of the 1990s analytical approaches. I suggest that Horrible Science aims to appeal to its readers by implying they can use a 'horrible' version of scientific knowledge to take up a position between the great and the good of the scientific community and an assumed, unenlightened othered public. Drawing on Bourdieu's ideas on symbolic 'capitals' of culture, I conclude with a reading of popular science as a product through which interaction between and across cultural fields allows a range of actors to, at once, share social power, declare their own cultural status, and fall prey to the hierarchies of science in society.
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Shepard, Cassim (Cassim Cauldwell). "Evocative and evidentiary : interpreting the city through non-fiction filmmaking." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/42063.
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Thesis (M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 2007.<br>This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.<br>Page 159 blank.<br>Includes bibliographical references (p. 150-158).<br>This thesis interrogates the relationship between non-fiction film and urban discourse. It outlines intellectual and visual strategies at play in a selection of non-fiction films that actively assign meaning to the mutual influence of urban form and social processes. In so doing, I identify two overlapping traditions, the evocative and the evidentiary, which classify the applications of filmmaking to the interpretation of cities. The research focuses on two American urban planning films that represent radically different ways of organizing their visual content in order to advocate a specific kind of urban reform: The City (1939) by Willard Van Dyke and Ralph Steiner and The Social Life of Small Urban Spaces (1980) by William H Whyte. Each case requires a thorough contextualization and location with urban studies, planning and film histories. The thesis, therefore, is arranged as a chronological exploration of the antecedents and turning points that explain the difference between these two films' formal strategies and philosophical positions. My analysis begins by linking the kinetic and fragmentary qualities of modernity in art and theory to the earliest experiments in creating moving images on film. It goes on to explore in greater depth the development of a formal cinematic vocabulary for the evocation of urban space. The adaptation of evocative techniques to the political subject matter of regional planning introduces an extended historical and formal analysis of The City that demonstrates how it draws from the diverse elements discussed in the previous chapters and applies them to the planning agenda of Lewis Mumford and the Regional Planning Association of America.<br>(cont.) Evidentiary techniques developed as methods of resistance to the top-down planning philosophies espoused by films like The City; the oppositional practices that emerged during the 1960s gave rise to a mentality of learning a city through looking at it, proceeding from the particulars to the general. The pioneering film work of William H. Whyte -- the most overt application of filmmaking to a specific urban planning agenda -- advances this inductive position to an instrumental use of images to support empirically a series of normative goals for the form of urban public space. The thesis concludes with a call for a productive synthesis of the two modes, a proposition that include a work-process narrative of my own attempts to represent urban dynamics on video and some initial implications of filmmaking's interpretive potential for urban planners and designers. Such as synthesis, I argue, requires recuperating the ability of montage to evoke the abstract essences of urban experience while maintaining the investigative order of operations -- learning through looking -- of the evidentiary tradition.<br>by Cassim Shepard.<br>M.C.P.
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Jowell, Joanne. "On the other side of shame : a non-fiction account." Master's thesis, University of Cape Town, 2007. http://hdl.handle.net/11427/8094.
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Lynette Langman's telephone rang on a Sunday night in 2001, heralding the call that would unravel her life. For forty long years, she had waited to hear news about the son she gave up for adoption when she was virtually a child herself. His birth had remained a closely guarded secret, hidden even from those who knew her best. And now his disclosure would unleash years of bottled questions and confessions.
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Moran, Renee Rice. "Scaffolding the Use of Non-fiction Text with Young Readers." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/3627.
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Wanning, Sun, and n/a. "The literature of fact : a study of the representations of Chinese society in some Australian fiction and non-fiction writings." University of Canberra. Communication, 1991. http://erl.canberra.edu.au./public/adt-AUC20061109.174027.
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The present study argues for a generic approach to the
study of the representation of Chinese society in a selection of
Australian fiction and non-fiction writings, based on the
assumption that how China is represented is as important as
what is represented. The three works that will be used to
represent travel literature, journalism and the novel are: The
East Is Red by Maslyn Williams, Real Life China by Richard
Thwaites, and the Avenue of Eternal Peace by Nicholas Jose,
all of which have been written by contemporary Australian
writers. The study re-examines the obligations and meanings
inherent in each of these genres, and discusses .these writers'
individual ways of experimenting with the genres in which
they write in order to cope with the complexity, ambiguity,
and the fictionally of reality. These works are analysed in
detail within two frameworks: the writers' relationships to
their writings, and the relationship between the text and the
external world, leading to the realization of the increasingly
important role writers' consciousness plays in reshaping and
fictionalizing their personal experience, as well as the
recognition of the increasingly important role fictionalization
plays in the representation of Chinese society in both fiction
and non-fiction writings.
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Tierney, John. ""Plunged Back with Redoubled Force": An Analysis of Selected Fiction, Non-Fiction, and Poetry of the Korean War." University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1396829149.
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Margaret, Scanlon. "Popular histories : a study of historical non-fiction books for children." Thesis, University College London (University of London), 2008. http://discovery.ucl.ac.uk/10020570/.
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Boon, Lucy. "Sexual assault and the ethics of non-representation in contemporary fiction." Thesis, Boon, Lucy (2016) Sexual assault and the ethics of non-representation in contemporary fiction. PhD thesis, Murdoch University, 2016. https://researchrepository.murdoch.edu.au/id/eprint/29795/.
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This thesis consists of a critical component and a creative component in an examination of how non-explicit representations of sexual assault against women can function in an ethical manner in contemporary fiction. In particular, the thesis argues that representations which veil or otherwise deny the reader direct access to the sexual assault scene can create productive, ethical spaces which invite the reader to reflect on cultural assumptions. The thesis analyses J.M. Coetzee’s Disgrace (1999) and Toni Morrison’s A Mercy (2008) and explores current debates concerning the representation of suffering. The thesis raises the question of what is at stake in the representation of sexual assault. In Disgrace, Coetzee’s use of an unreliable narrator and a limited point of view, among other strategies, confronts the reader with the unknowable and directs the reader’s attention to issues of sexism, racism and violence in post-Apartheid South Africa. A Mercy represents sexual assault obliquely and uses euphemism to refocus readers away from the immediate ‘body in pain’, representing sexual assault as a systemic (and historic) culture with social implications for the understanding the present.
In the creative writing component, my novella titled Taking Care of Amy explores the issues raised in the thesis. The story, set in present-day Western Australia, centres on a single mother who is raising her three daughters — two teenagers (one of whom is disabled) and a toddler — under difficult circumstances.
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Vlatkovic, Michelle. "Voice in Australian creative non-fiction: The project of my belonging." Thesis, Griffith University, 2018. http://hdl.handle.net/10072/376833.
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The Notebook of Belonging engages with and contributes distinct values in relation to connection, belonging and narrative. Its ‘Voice’ situates an ontological approach originating from familial and cultural traditions. Multifaceted, it speaks to Western intellectual values, Aboriginality and the transformative nature of silence.
Primarily a practise-based creative nonfiction project, the Notebook of Belonging has an embedded exegetical commentary. The exegetical cannot be sliced away at either end without weakening the centre; the centre is not as strong without the exegetical. In this way, there are tensions and there are alignments in how book learnt interacts with oral story. The authority of book knowledge in relation to oral traditions is contested here.
The Notebook of Belonging presents knowledge imparted in oral story-telling whereby belonging and connection exist through a shared understanding of the interconnected nature of life and being. Oral story uses silence, repetition and reflection. The use of silence, repetition and reflection imparts knowledge in a non-linear and circular process. Replicating this non-linear, circular approach, the Notebook of Belonging is composed of a fragmented, discontinuous narrative, moving back and forth through time, recounting events in a non-linear order, where the multidimensional nature of time and story are always in dialogue, as they are in life.
The intention is to show a constellation of belonging both conceptual and tangible; situated between European and Kamilaroi understandings. The idea of creating a constellation using a discontinuous narrative is also informed by Walter Benjamin’s One-Way Street (2016). Benjamin showed how a fragmented text creates subliminal connections between textual passages, complimented by explicit themes, formal echoes and rhymes; all of these may be structured in such a way to convey a constellation of meaning to the reader (Benjamin, 2016, p. 7). Individual fragments work as philosophical miniatures rather than snap shots. Moments from life recounted in the Notebook of Belonging focus on connection not rupture, informed and in response to Roland Barthes’ Camera Lucida (2010) which presents the concept of the studium and the punctum in relation to the photographic image. The studium is the public broad range of meaning associated with the image. The punctum, on the other hand, is the private association the viewer has with the image. It is conjured by the spectator’s own experience. It is unexpected and consequently remembered (Barthes, 2010, p. 26).
Other writers encountered in this research include: Nicholas Rothwell, Ngarta Jinny Bent et al, Kim Scott, Jeanette Winterson, and Helene Cixous. Their works investigate oral story as well as the power of narrative and literature.<br>Thesis (Masters)<br>Master of Arts Research (MARes)<br>School of Hum, Lang & Soc Sc<br>Arts, Education and Law<br>Full Text
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Moran, Renee Rice. "The Application of Non-Fiction Literature in the K-5 Classroom." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/3623.
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Abbott, Shannon Marie. "My Whine, Your Wine." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc115041/.
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Grapes hold the flavors of the lands where they grow, and when you make wine from them, those flavors of the land come through. Tasting wine from a place you've been can bring you back to that place with aromas and notes indicative of that place. A bottle of wine changes every day, and how it will taste depends on the moment you choose to release it from the glass walls. I have a vested interest in wine, because it is a living thing. I am compelled to make wine because its characteristics are like personality traits. Although some of those characteristics are harsh at times, I appreciate them all. Each trait plays an important role in the balance, the overall personality. Like my own personality flaws, wine's harsh tones can smooth over time. My relationship with wine is constantly evolving, with every new varietal, vintage, batch and blend. Believe me, after some of the jobs I had before my first day at Su Vino, I cherish every moment of my winemaking career. My Whine, Your Wine is the story of how it all started.
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Ventrucci, Virginia. "Translating and Analyzing Contemporary Italian Dystopian Fiction: Leonardo Patrignani's "Tu Non Esisti"." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2017.
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As the English-speaking book market is difficult to penetrate for authors who are not native speakers of English, it is important to analyze how writers of different languages can produce notable works. This dissertation sets to translate, analyze, and assess the literary value of "Tu Non Esisti", a short story written by Italian author Leonardo Patrignani, as an example of contemporary Italian dystopian fiction that could be successful abroad.
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Kahlisch, Thomas. "Increasing availability of non-fiction publications in Braille, DAISY and large print." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-38294.
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In this presentation, various projects at DZB will be described, concerning various collaborations with publishing houses and Libreka! – an online platform of the German association of publishers “Börsenverein des Deutschen Buchhandels”, to improve the workflow of transformation of typesetting data into the DAISY 3 format. By developing adaptive content processing facilities, this data can be used to increase the availability of publications in Braille, DAISY and large Print.
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Boland, Stephanie Jane. "Modernism and non-fiction : place, genre and the politics of popular forms." Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/30162.
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This thesis considers the hitherto unexplored question of modernism and non-fictional genres. Although modernist studies have long been attentive to the implications of modernism’s “manifestos”, and recent work on modernist magazines has shed new light on forms beyond poetry and fictional prose, little attention has been afforded to other non-fictional writing. Similarly, although a growing school of criticism has emphasised the significance of “the everyday” in modernist texts, few have examined non-fiction concerned with leisure or daily life – a particularly unusual omission given the rich possibilities such texts offer for our understanding of how everyday lives relate to wider society. This thesis examines instructional texts which make radical interventions in the social and political upheavals which follow the First World War. Contra to the well-debunked yet still pervasive narratives which typify the modernist text as a work of disinterested – even isolated – genius, these examples demonstrate a broad-ranging, complex engagement with popular venues. Surveying examples of popular genres such as cookbooks, travel guides and radio programs written by a range of canonical and lesser-known modernist writers, it demonstrates how modernist writers re-appropriated the common features of such mainstream forms in order to stage various (and varied) interventions in local and national affairs. Its reading of Sylvia Townsend Warner’s Somerset (1949) and Scottish Scene: The Intelligent Man’s Guide to Albyn (1934), by Hugh MacDiarmid and Lewis Grassic Gibbon, shows how adopting the “textual codes” of travel guides provided authors with a means of writing back against the over-simplistic narratives of region and nation popular in other examples of the genre. Likewise, The Alice B Toklas Cook Book (1954) and F.T. Marinetti’s The Futurist Cookbook (1932) are read as divergent examples of texts which stage radical interventions in food practices as they relate to nationhood and conflict. Comparable interventions are also unearthed in the media. Flann O’Brien’s Cruiskeen Lawn columns (1940-66), published under the name Myles na gCopaleen, are often read in studies of Irish political and cultural consciousness. This thesis argues that they must also be read in terms of genre, demonstrating how a subversive use of headlines, bylines and other page architecture signals O’Brien’s use of the newspaper form itself to pass comment on the cultural and political life of the Republic of Ireland. Finally, this thesis turns to broadcast culture, with a chapter on radio and documentary films. Through readings of Virginia Woolf and Elizabeth Bowen's radio broadcasts, and the GPO Film Unit collaboration of Benjamin Britten and W.H. Auden, this chapter shows how irony and experiment allowed writers to turn state-sanctioned media to their own ends during the interwar years – suggesting that literary readings are crucial to understanding modernism's engagement with new media. Through these different readings, this thesis highlights the sheer diversity of modernist genres which have either received little critical attention, or whose formal specifics have been under-acknowledged. As a result, it is able to reframe modernism’s approach to several areas of twentieth-century life, approaching anew pressing areas of concern in the field – for instance, space and place, the circulation of texts, the everyday, and the commercial, lowbrow and domestic – demonstrating the critical importance of instructive genres to understanding literary modernism.
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Stripe, Adelle. "Writing Andrea Dunbar : framing the non-fiction novel in the literary north." Thesis, University of Huddersfield, 2016. http://eprints.hud.ac.uk/id/eprint/31560/.
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Black Teeth is a novel based on Andrea Dunbar, a young woman with an extraordinary talent for writing who becomes famous by accident. She is propelled into the London theatre establishment via a Women’s Aid refuge and an adapted screenplay of two of her early plays brings her wealth, accolades and notoriety. Rita, Sue and Bob Too! is a national scandal upon its release, and its tagline ‘Thatcher’s Britain with Her Knickers Down’ ensures it is a box office sensation. Fame brings her great anxiety and she is unable to cope with the media attention of the national press who elect her a poster girl for the underclass. Dunbar slowly succumbs to the pitfalls of drink and spends her last days in her local pub The Beacon, where she writes her final script based on a gang of unscrupulous debt collectors. In 1990, aged 29, she collapses in the pub from a fatal brain haemorrhage. This creative work reflects the harsh realities of working-class life during the 1980s and reveals the story of Andrea Dunbar, a remarkably stubborn ‘genius straight from the slums’. Through a cast of real and imagined characters the novel explores how her portrayal of the Buttershaw Estate revealed levels of poverty within her own community that were previously unknown to the outside world. Her black-witted comedies included themes of domestic violence, underage sex, alcoholism and the declining status of men. By using frank and expletive-ridden dialogue Dunbar gave a no-holds-barred account of the working-class North composed in the tradition of social realism. This is the first time an account of Dunbar’s life and work has appeared in novel form and offers a unique insight into one of the North’s lost literary greats. It places her work within the social and historical context of the Thatcher era and re-asserts her position within the cultural heritage of West Yorkshire. By drawing connections to recent works in contemporary Northern literature the research also explores representations of West Riding in the 1970s and 80s. It examines the work of Gordon Burn and David Peace and shows how they utilised the non-fiction novel and New Journalism forms to create fact-based fiction set in the region.
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Kahlisch, Thomas. "Increasing availability of non-fiction publications in Braille, DAISY and large print." Deutsche Zentralbücherei für Blinde zu Leipzig (DZB), 2009. https://slub.qucosa.de/id/qucosa%3A808.
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In this presentation, various projects at DZB will be described, concerning various collaborations with publishing houses and Libreka! – an online platform of the German association of publishers “Börsenverein des Deutschen Buchhandels”, to improve the workflow of transformation of typesetting data into the DAISY 3 format. By developing adaptive content processing facilities, this data can be used to increase the availability of publications in Braille, DAISY and large Print.
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Wolfe, Maria Loukianenko. ""That's just the breaks" the ethics and representation in non-fiction writing /." [Ames, Iowa : Iowa State University], 2008.
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Létoffé, Sylvain. "Politique et Non-politique." Thesis, Paris 10, 2015. http://www.theses.fr/2015PA100135.
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Au cours de ces recherches, nous construisons à partir de ce que nous nommons politiques-philosophiques, des politiques non-standards. Les politiques-philosophiques sont construites comme des philosophies, ce sont des philosophies à part entière, donc des politiques. Politiques car elles ne s’affranchissent pas de l’horizon grec de la cité ou du plan de transcendance. Nous cherchons une politique non-standard susceptible d’aborder tout le champ philosophique pour le transformer et en caractériser les gestes et opérations, c’est pourquoi nous traitons de multiples problématiques qui sont chaque fois occasion de « politique » et de levée de celle-ci en son horizon grec, celui de la cité. La politique non-standard est sujet et elle existe étrangère à la philosophie et au Monde qui sont identiques, elle ne détruit pas la philosophie qui est une décision sur le Réel, mais elle la transforme selon la modalité de la dualyse unilatérale qui déploie cette décision afin d’en révéler les mécanismes qui sont ignorés. Nous voyons dans ce travail que la politique vise la transformation du réel au moyen de la pensée et qu’elle programme de la modification dans l’homme avec la transformation de ses pensées<br>In this research, we build non-standard politics from what we call philosophical-politics. Philosophical-politics are built as philosophies, they are philosophies per se, and therefore they are politics. Politics because they are not freed from the Greek horizon of the city or of the plane of transcendence. We are looking for non-standard politics which can investigate all the philosophical field in order to transform it and characterise its movements and operations. This is why the different problematics we address are all considered as “politics” detached from their Greek horizon, the horizon of the city. Non-standard politics is a subject and exists apart from philosophy and World which are identical. It doesn’t destroy philosophy which is a decision about Reality, but it modifies it according to the unilateral dualysis modality which shows this decision in order to reveal its unconscious mechanisms. In this research, we can see that politics seeks transformation of the Reality through thinking and programs human transformation through changing his thought
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DeRose, Maria D. "SEARCHING FOR WONDER WOMEN: EXAMINING WOMEN'S NON-VIOLENT POWER IN FEMINIST SCIENCE FICTION." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1143469405.
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Blair, Molly. "Putting the storytelling back into stories : creative non-fiction in tertiary journalism education." ePublications@bond, 2006. http://epublications.bond.edu.au/theses/blair.
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This work explores the place of creative non-fiction in Australian tertiary journalism education. While creative non-fiction — a genre of writing based on the techniques of the fiction writer — has had a rocky relationship with journalism, this study shows that not only is there a place for the genre in journalism education, but that it is inextricably linked with journalism. The research is based on results from studies using elite interviews and a census of Australian universities with practical journalism curricula. The first stage of this study provides a definition of creative non-fiction based on the literature and a series of elite interviews held with American and Australian creative non-fiction experts. This definition acknowledges creative non-fiction as a genre of writing that tells true stories while utilising fiction writing techniques such as point of view, dialogue and vivid description. The definition also takes into account creative non-fiction’s diverse range of publication styles which include feature articles, memoir, biography, literary journalism and narrative non-fiction. The second stage of the study reports upon elite interviews with Australian writers who have produced works in the genres of journalism and creative non-fiction. These interviews reveal the close relationship journalism and creative non-fiction share across a variety of approaches and techniques. This study also shows how creative non-fiction can improve the careers of journalists and the quality of journalism. The census of journalism programs further reveals the place of creative non-fiction in tertiary journalism education and prompts the formulation of a two tiered model for the genre’s inclusion in the curriculum. The first tier involves including creative non-fiction in a core journalism subject. The second tier is an elective creative non-fiction subject which builds on the skills developed in the core classes. Through the literature, and the responses of the elites and survey respondents, it was possible to show how creative non-fiction helps journalism students to appreciate the history of their profession, explore their talents and finally to be part of what may be the future of print journalism.
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Morgan, G. "Mapping Planet Auschwitz : non-mimetic writing and the Holocaust in Anglo-American fiction." Thesis, University of Liverpool, 2017. http://livrepository.liverpool.ac.uk/3007578/.
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The discourse surrounding the Holocaust is one of the unapproachable, the unknowable, and the unimaginable. Over the last seventy years the Holocaust has been compared to an earthquake, another planet, another universe, a rupture, or void. It has been said to be beyond language, or else have its own incomprehensible tongue, beyond art, and beyond thought. In fact, though the terminology differs, it has consistently been rendered as Other. Thus it seems peculiar that very few studies have been conducted on Holocaust literature which is non-mimetic in nature; that is, the impulse of literature which is not concerned with mimicking reality but which routinely engages the Other, the uncanny, the grotesque, and the inhuman. Certainly there is no shortage of primary material. This thesis will establish a foundation for future discussion of the non-mimetic and the Holocaust, surveying a wide range of common themes and approaches to the genocide in Anglo-American fiction. By analysing this fiction, this thesis aims to examine contemporary relationships and attitudes to the Holocaust, revealing how the writers (and perhaps their societies) comprehend the incomprehensible, and in what ways Holocaust memory has changed and is changing, particularly in the modern era. The texts in this thesis are drawn from a wide range of authors and hierarchies within the literary sphere, as such in order to impose a structure of sometimes disparate narratives, I have proposed several themes. A number of theoretical readings have been consolidated into the thesis from mainstream Holocaust studies, trauma studies, science fiction studies, and more; with some texts receiving their first in depth critical analysis. Ultimately, this thesis aims to prove that non-mimetic fiction can relativise the traumatic occurrences without normalising them. Thus, though a vastly understudied body of work in this context, non-mimetic fiction is in fact a crucial component in our understanding our relationship to the Holocaust, and perhaps to traumatic events more generally.
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Tchernava, Irina. "Le cinéma de non-fiction en URSS : création, production et diffusion (1948-1968)." Paris, EHESS, 2014. http://www.theses.fr/2014EHES0095.
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Le cinéma de non-fiction, qui comprend les actualités, les films documentaires, industriels et éducatifs, est rarement étudié en tant que secteur professionnel faisant l'objet d'attentes politiques spécifiques. Ce travail porte sur le quotidien de la fabrication des images en URSS, de la fin des années 1940 à la mise en place des réformes Kossyguine dans la deuxième moitié des années 1960. Il s'attache à retracer une histoire sociale de l'industrie cinématographique à travers l'étude des pratiques professionnelles des cinéastes de la république soviétique de Lettonie et de la région de Sverdlovsk. Il traite ce faisant des mutations en cours dans la production et la diffusion des films, en analysant la dimension territoriale, les conditions de travail, le rôle économique changeant de la non-fiction, et la matérialité des pratiques. Cette période se caractérise par la consolidation d'une autonomie professionnelle, à travers laquelle les cinéastes s'efforcent de mettre à distance la commande, quelles qu'en soient les origines (sociales, politiques, industrielles)<br>The non-fiction cinema, which includes chronicles, documentaries, industrial and educative films is rarely studied as a professional area and as an object of specific political expectations. This studying carries on the daily fabrication of films in Soviet Union from the end of the 1940s till the Kossygin economic reforms in the second half of the 1960s. This work tries to shape up a social history of the soviet cinema industry by studying the professional practices of the film-makers in the Soviet socialist republic of Latvia and in the Sverdlovsk region. It concerns the transformations in film production and distribution by analysing territorial aspect, work conditions, shifting economic role of the non-fiction and materiality of the practices. The period is that of the strengthening of the professional autonomy and the film-makers try to distance themselves from the command whatever are its sources (social, political, industrial)
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Bill, Meredeth Meyer. "The Pieces I Choose: A Creative Non-Fiction Exploration of Self and Place." Thesis, The University of Arizona, 2014. http://hdl.handle.net/10150/319937.
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Pinto, Julia de Vasconcelos Magalhaes. ""Literature of the non-word": the paradox of bilingualism in Samuel Beckett's fiction." Universidade Federal de Minas Gerais, 2012. http://hdl.handle.net/1843/ECAP-8RXGUJ.
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Para contribuir com o estudo da obra de Samuel Beckett, com foco na trilogia 'Molloy, Malone Dies' e 'The Unnamable' - especialmente o último, esta dissertação de mestrado tem por objetivo destacar a realização de Beckett enquanto um autor bilíngue. Nossa tese é a de que além do autoexílio geográfico, o autoexílio linguístico facilitou o processo de tornar a experiência de ser estrangeiro em um tema, na busca de Beckett por uma espécie de projeto estético - a 'literatura da despalavra', como ele mesmo o denominou. Demonstraremos que a experiência do bilinguismo é o eixo central em 'The Unnamable'. Além disso, a obra também se consolida num entre-lugar-entre nações e línguas. Esta pesquisa busca encontrar no trabalho de Beckett, como autor e como tradutor, justificativas para o desenvolvimento da hipótese de que tanto o bilinguismo quanto o trabalho de tradução mudaram a escrita de Beckett numa direção em que a relação entre língua e realidade e a dissolução do 'Eu' se configuram como eixo principal.
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Kavalieris, Galvão André. "Representing Truth Through Narrative : The Use of Historiographical Techniques in Creative Non-Fiction." Thesis, Stockholms universitet, Engelska institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-169744.
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This essay is an attempt to show how certain elements, or techniques of history writing, can be used in creative non-fiction. It uses three major sources of theory. First, there is Charlotte Canning and Thomas Postlewait’s view on “the five themes of historiography,” which are indispensable for researching history: time, space, archive, identity, and narrative. The essay primarily focuses on narrative, because it is connected to representations of human lives, and as such contributes to meaning- creation. Second, the essay employs Hayden White’s concept of the historian’s working process and the notions of chronicle, story, mode of emplotment, mode of argument and ideological implications. Third is the method developed by Thomas Andrews and Flannery Burke of the five C’s of historical thinking: change over time, causality, context, complexity and contingency. Although these are separate theories, the essay shows how they can be complementary and help in the development of memoir writing, which is here my creative work, A Family Memoir in Essays, in particular the essays entitled “Trimdiniekis,” “Brasiliana,” and “A Sertaneja”.
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Faienza, Lucia <1984>. "Il paradigma poliziesco nel romanzo di non-fiction: continuità stilistiche, tematiche e narrative." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2017. http://amsdottorato.unibo.it/8005/1/TesiFaienza%20%281%29.pdf.
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La tesi si concentra sullo studio del paradigma del romanzo poliziesco (tanto il giallo quanto il noir) nella narrativa italiana contemporanea, con particolare attenzione alle scelte stilistiche ed editoriali del romanzo di non-fiction. La domanda alla quale la tesi cerca di rispondere è: esiste una tendenza che spinge a strutturare la materia della narrativa secondo un modello “giallistico”?
Nel primo capitolo l’analisi quindi si sviluppa su un percorso storico che introduce brevemente la storia del genere in Italia, sottolineando i modelli di riferimento e la particolarità del contesto italiano rispetto ai classici della letteratura di genere In quanto alla trasposizione della categoria giallistica nel romanzo-inchiesta viene data particolare attenzione al caso specifico di Sciascia sia per l’originalità del “giallo metafisico”
Nel secondo capitolo l’approccio verte principalmente sull’analisi incrociata di testi di fiction e di non fiction di argomento criminale, dagli anni ’90 fino al 2010; l’obiettivo è quello di mettere a fuoco il fenomeno del noir italiano ed isolarne temi, motivi e contenuti. Gli autori oggetto di studio sono Franchini (L’abusivo, Cronaca della fine), Saviano (Gomorra, Zerozerozero), Bettin (L’erede), Pascale (La città distratta).
Nel terzo capitolo vengono analizzati alcuni romanzi contemporanei di non-fiction che non si basano sulla cronaca criminale ma che hanno “interiorizzato” alcuni tratti della narrativa gialla e noir: lo sviluppo della trama attorno a un oggetto irrisolto, sia esso di natura storica o biografica, la ricerca individuale per la riaffermazione della verità, la mancanza di una conclusione “forte” e una visione pessimistica ed entropica della realtà. L’analisi testuale verte su narrazioni tematicamente distanti tra loro, per offrire uno spettro più ampio della ricerca.<br>The dissertation examines the model of the detective and crime novel in contemporary Italian literature focusing on non-fiction novels, their style, and their market reasons and value. The main goal of the reasearch is to determine the existence of a so to speak detective way of writing that would be able to organize the narrative structure according to its fashion and regardless of the presence of the main criminal element. The study is then based on the analysis of multiple texts – both fictional and non fictional – published in Italy in the last twenty years and provides the reader with a preliminary history of the detective and crime fiction in Italy and its peculiarities. The wide range of writers and subjects taken into account allows to see the emergence of a pattern that links noir and detective novels to non-fiction novels and that is grounded in feature suchs as the individual research of truth, the lack of closure, a pessimistic view on reality.
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Sayer, Rosemary. "Stitching the fabric of life: Refugee stories and the non-refugee narrator. A creative non-fiction manuscript and exegesis." Thesis, Curtin University, 2019. http://hdl.handle.net/20.500.11937/76122.
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This thesis is presented as a work of creative non-fiction and an accompanying exegesis. Together, they explore how narrative identity can be developed by people of a refugee background through a collaborative process of working with a non-refugee narrator. In my creative non-fiction work, Stitching the fabric of life, I collaborate with 11 women and three men to create a series of life stories to challenge the over-generalised notion of “the refugee experience”.
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Gurses, Seyda Aylin. "'I Just Wanted You to Know': War Testifies through the Camera." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/483.
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This work is a textual analysis of selected documentary films whose common theme is the inevitable discrepancy between the realities of the Vietnam and the 2003 Iraq War from the perspectives of the veterans and soldiers, and the assumed reality that is constructed in the media. It is at this point that the inextricable link between documentary cinema and reality proved fundamental to the developing discourse of the entire study ahead. Since the manner in which the world is both transformed and depicted strongly depends upon the tools available to the director, the technological innovations and the emergence of portable cameras, by granting the documentary filmmaker flexibility, irreversibly solidified this link between non-fictional act of narrating and its approach and proximity to reality. Four works that are picked among a large body of documentary films are Winter Soldier (1972) directed by Winter Collective; Gunner Palace (2004) directed by Petra Epperlein and Michael Tucker; Full Battle Rattle (2008) directed by Tony Gerber and Jesse Moss and finally Standard Operating Procedure (2008) directed by Errol Morris. Even though the films are historically ordered, this study's concern is to be systematic thematically than chronologically. In the course of these analyses, discussions of notions like reality and truth, the relations of the makers of the films, the camera and editing process to the subjects of the films, will naturally emerge, as will issues related to the political and social roles of documentary cinema.
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Law, G. "Mystery and uncertainty in modern fiction : A comparative parallel case study of the relations between popular mystery forms and modern non-classical fiction." Thesis, University of Sussex, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.371196.
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Sobrinho, Ailton. "De la chronique journalistique au reportage de guerre : fiction et non-fiction dans le journalisme littéraire de Rubem Braga et de Joel Silveira." Electronic Thesis or Diss., Université Clermont Auvergne (2021-...), 2022. http://www.theses.fr/2022UCFAL021.
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Ce travail se propose d’analyser le processus de fictionnalisation de l’écriture journalistique à partir de l’adoption de procédés littéraires sous couvert de la notion de transferts. Ce processus, qui met en exergue la porosité de la fiction et de la réalité, estrevendiqué par le journalisme littéraire, modalité hybride à mi-chemin entre le journalisme et la littérature. Tantôt ancrée dans le factuel, tantôt teintée de littérarité, l’écriture journalistico-littéraire se caractérise, d’un côté, par son attachement à la vérité et par sa quête de réalité et, d’un autre, par son besoin vital de narrer. Afin de montrer comment la fiction et la non-fiction se côtoient au sein du récit relevant de cette catégorie journalistique, nous nous sommes penchés sur le travail de deux journalistes-écrivains ayant consacré leur carrière à la production de la chronique et du reportage, deux genres porteurs du journalisme littéraire dans le contexte de la presse écrite brésilienne au XX° siècle. Rubem Braga et Joel Silveira n’ont pas seulement compté parmi les précurseurs du journalisme littéraire au Brésil, ils se sont aussi portés garants de cette modalité — surtout lors de leur travail de correspondant de guerre au service des journaux Didrio Carioca et Didrios Associados. Avec leur plume, ils ont inscrit dans les pages de ces journaux une poétique du quotidien fondée sur une approche à la fois journalistique et littéraire. Dans la couverture de la Seconde Guerre mondiale, le chroniqueur Braga et le reporter Silveira ont ainsi donné à voir, à leur façon, la laideur de la guerre sans négliger la poésie des faits. Pratiquant un journalisme littéraire de tranchée, ils ont témoigné de la force du journalisme littéraire — y compris sur le front de guerre — et ont porté dans leur écriture et dans la publication de leurs textes sous forme de livre le combat de pérennisation mené par cette branche journalistique. C’est d’ailleurs leur écriture pérenne, le recueil de leurs chroniques et reportages, Crônicas de Guerra (Braga, 1964) et O Inverno da Guerra (Silveira, 2005), qui a servi de corpus pour notre analyse<br>From the perspective of a notion of “transfer”, this article proposes the analysis of the process of fictionalization of journalistic writing from the adoption of literary techniques. This process, which highlights the porosity of fiction and reality, is claimed by literary journalism, a hybrid modality situated between journalism and literature. Relying on factual and literariness, journalistic-literary writing is characterized, on the one hand, by its adherence to the truth and its search for reality and, on the other hand, by its vital need to narrate. In order to show how fiction and non-fiction are related within the text linked to this journalistic category, we are interested in the work of two journalist-writers who devoted their careers to the production of chronicle and reportage, representative genres of journalism literature in the context of the 20th century Brazilian press. Rubem Braga and Joel Silveira were not only the precursors of literary journalism in Brazil, they were also guarantors of this modality – especially during their work as war correspondents in the service of the newspapers Diário Carioca and Diários Associados. With their writing skills, they inscribed in the pages of these newspapers a poetics of everyday life based on a journalistic and literary approach. During the coverage of the Second World War, the chronicler Braga and the reporter Silveira showed, in their perspective, the ugliness of the war without neglecting the poetry of the facts. Practicing trench journalism, they witnessed the strength of literary journalism on the front and defended, in the writing and publication of their texts as books, the fight for perpetuity claimed by this journalistic aspect. In this research, we adopted as a corpus analysis the collections of chronicles and reports published in the books Crônicas de Guerra (Braga, 1964) and O Inverno da Guerra (Silveira, 2005), which are manifestations of the perennial writing of both authors<br>Sob a ôtica de uma noção de “transferências”, este trabalho propõe a análise do processo de ficcionalização da escrita jornalística a partir da adoção de técnicas literárias. Esse processo, que coloca em evidência a porosidade da ficção e da realidade, é reivindicado pelo jornalismo literário, modalidade híbrida situada entre o jornalismo e a literatura. Apoiando-se no factual e na literariedade, a escrita jornalístico-literária se caracteriza, de um lado, pela sua aderência à verdade e sua busca de realidade e, de um outro, pela sua necessidade vital de narrar. A fim de mostrar como a ficção e a não-ficção se relacionam no seio do texto ligado a essa categoria jornalística, nós nos interessamospelo trabalho de dois jornalistas-escritores que consagraram suas carreiras à produção dacrônica e da reportagem, gêneros representativos do jornalismo literário no contexto daimprensa brasileira do século XX. Rubem Braga e Joel Silveira não foram somente osprecursores do jornalismo literário no Brasil como também foram fiadores dessamodalidade — sobretudo durante a atuação como correspondentes de guerra a serviço dosjornais Diário Carioca e Diários Associados. Com suas habilidades de escrita, elesinscreveram nas páginas desses jornais uma poética do cotidiano baseada numaabordagem jornalística e literária. Durante a cobertura da Segunda Guerra mundial, ocronista Braga e o repórter Silveira mostraram, na perspectiva deles, a feiura da guerrasem negligenciar a poesia dos fatos. Praticando um jornalismo de trincheira, elestestemunharam a força do jornalismo literário no fronte e defenderam na escrita e napublicação de seus textos em formato livro o combate de perenização reivindicado poressa vertente jornalística. Nesta pesquisa, adotamos como corpus de análise as coletâneasde crônicas e reportagens publicadas nos livros Crônicas de Guerra (Braga, 1964) e oInverno da Guerra (Silveira, 2005), que constituem manifestações da escrita perene dosdois autores.Palavras-chaves : Rubem Braga, Joel Silveira, jornalismo literärio, ficcionalizaçäo,transferéncias
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Al-Hout, Ahmad. "E.M. Forster at home and abroad : British and non-British elements in his fiction." Thesis, University of Dundee, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390681.
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Stephenson-Thompson, Jo. "Telling fashionable tales : the form and function of the non-fiction British fashion film." Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/24863.
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This thesis examines the promotion of the British fashion industry in the underexplored genre of non-fiction British fashion film. Whilst critical attention has been paid to the role of fashion within fiction film, and costume within historical drama, the significance of fashion in non-fiction, state-sponsored British film has passed largely without exploration. The threshold of fact and fiction is the site of investigation in this analysis of film and media materials, that draw on fairy tale narratives of transformation to produce fashion as the 'integration of the two worlds of reality and imagination' (Bettelheim, 1975). The main focus of my analysis is a body of texts ranging from the forties to the present day. The corpus of study consists of films produced by British Pathé and the Central Office of Information (COI), film, televisual, and DVD outputs of royal weddings, and the BBC's live television broadcast of the 2012 Olympic Games. Fashion has a reputation for facilitating change and performing makeovers, and the texts studied here present three levels of transformation, powered by the magical fiction of fairy tales, the transformative potential of capitalism, and the renewing capabilities of the fashion industry. These texts demonstrate the way fashion stories are used to negotiate key historical junctures in British identity, finding in the structure of the fairy tale a way to articulate an economy of renewal that can be harnessed to a national, ideological state agenda aimed at women. This thesis argues that national events are commandeered as platforms for officially sponsored tales of Britain's heritage, which testify to the importance of fashion to the British economy and its role in political strategy.
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Dindelli, Ilaria <1991>. "I nuovi non-fiction picturebook. Uno studio sugli albi illustrati di divulgazione per l'infanzia." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2021. http://amsdottorato.unibo.it/9969/1/dindelli_ilaria_tesi.pdf.
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La presente ricerca indaga i più recenti albi illustrati di divulgazione scientifica per l’infanzia (non-fiction picturebook). Rispetto al passato, questi nuovi libri per bambini della categoria non-fiction si configurano oggi come veri e propri picturebook, presentando al loro interno un apparato illustrativo dominante, ricercato, in dialogo con quello testuale e suscitando interessanti quesiti di tipo estetico, ermeneutico e pedagogico ancora scarsamente indagati dalla critica sia italiana, sia internazionale. L’obiettivo della ricerca è quello di condurre uno studio comparativo analizzando i più interessanti albi illustrati non-fiction provenienti da diversi Paesi, per interrogarsi su quali siano le caratteristiche precipue di questa nuova tipologia editoriale e quali le strategie attraverso le quali il sapere viene organizzato all’interno di libri non-fiction multi-modali nei quali sia il testo sia le illustrazioni concorrono entrambi alla costruzione di conoscenza.<br>This study explores the most recent non-fiction picturebooks. The aim of the research is to conduct a comparative study by analyzing the most interesting non-fiction picturebooks from different countries, to question what are the main characteristics of this new type of publishing and which are the strategies through which knowledge is organized.
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Roberts, Shantale D. "EXPANDING OUR PRESENT KNOWLEDGE OF THE NON-FICTIONAL WORLD: AN ANALYSIS OF TRANSPORTATION AND IDENTIFICATION WITH VICTIMS AND PERPETRATORS." Cleveland State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=csu1529075576461922.
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Bull, Edward. "POTENTIAL ENERGY." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2192.
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BULL, EDWARD. Potential Energy. (Under the direction of Pat Rushin.) Potential Energy is a collection of sixteen short stories. They range from the fictional to the autofictional to the entirely non-fictional. In all of them, characters both real and imagined struggle to live and define themselves in a world that is outside their control. They cope with the inevitability of loss, dangers both internal and external, and the passing of their own greatness. Some of these characters become lost while others learn to embrace life on its own terms to accept  without hope or expectation. More often, they are not lost or enlightened, but simply survive to continue on, still uncertain. Though all the stories in Potential Energy are stand-alone, they are thematically connected. The themes of family and identity are most prominent in  Potential Energy and  Eulogy to Maria Mamani, Fire-Eater. Loss is confronted and the question of what comes next is asked in  Oysters and  Slide. The conflict between fate and the need for control rises to the surface in  Threshold,  The Elizabeth Years, and the non-fiction story of Charles Whitman s deadly rampage in 1966,  Seed. Themes of ambiguity, moral erosion, and literary exploitation appear in the non-fiction  Bright and Loud and Then Gone, about a landlord burned alive in Chicago in 2008, and  What It Might Have Been Like If We Had Been There, an apologetic for the writer s right to write inspired by the 2007 Al Mutanabbi Street car-bombing in Baghdad, Iraq. Most importantly all the content of Potential Energy tells stories of people trying to hold on to what is good when, tragically, everything must eventually come to an end.<br>M.F.A.<br>Department of English<br>Arts and Humanities<br>Creative Writing MFA
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Burge, Eric William. "Sound Design for Non-fiction Film and Video: A Discussion of Methodology, Perception, and Ethics." Thesis, Montana State University, 2007. http://etd.lib.montana.edu/etd/2007/burge/BurgeE1207.pdf.
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Traditional documentary films, particularly science and natural history works, presume to authentically or legitimately convey accurate representations of historical events that actually occurred at a prior time. Factual and convincing representations are not necessarily congruent, and a film's merit of authenticity is often based on the perceived validity of the visual content represented. While visual imagery dominates a presentation's general delivery, a film's sound design is a fundamental structural element that is often overlooked or less scrutinized with regard to factual or accurate recounting of these same historical events. The purpose of this thesis is to examine methodologies of sound acquisition and reproduction and to discuss how various acoustic contents are perceived in relation to associated visual elements. While discerning viewers may notice critical discrepancies in picture contents that may invalidate a film's credibility, a complex matrix of sonic elements does not lend itself to deconstruction as easily. Thorough analysis of a science and natural history film must include an examination of its complete sound design. Consideration must be given to the ethical implications of using any synthesized or borrowed audio tracks if such a work is to be considered as "factual" documentary. The standards of acceptance or rejection should be no different than those associated with fabricating unnatural or contrived visual contents, no matter how compelling may be the end product.
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King, Lucia. "Performance on screen in India : methods and relationships in non-fiction film production, 1991-2011." Thesis, SOAS, University of London, 2012. http://eprints.soas.ac.uk/15861/.
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Christy, Gwendolyn Anne. "“The Inevitable: Withdrawn”." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500048/.
Full textAbstract:
The Inevitable: Withdrawn is a critical preface and collection of non-fiction writing: personal essay, lyric essay, fragments, and experimental forms. The work’s cohesive subject matter is the author’s European vacation directly following her divorce. Within the pieces, the author attempts to reconcile who she is when starting over and she begins to ask questions regarding the human condition: How do I learn to exhibit intimacy again, not just with romantic partners, but with also in a familial way with my father, and how does absence in these relationships affect my journey and how I write about it? How do I view, and remake myself, when finding my identity that was tied to another individual compromised? How does a body, both physical and belonging to me, and physical as text, take certain shapes to reflect my understanding? How do I define truth, and how do I interpret truth and authenticity in both experience and writing? How do I define and know the difference between belief and truth? And finally, how does narrative and language protect, or expose me? The Inevitable: Withdrawn considers debates regarding the definition of narrative in order to address a spectrum of non-fiction writing. The collection takes into consideration non-fiction conventions, form as functionality, philosophy, linguistics, cognitive psychology, prose and poetic theory, and the works of other notable writers.
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Wilson, Mardi E. "Everyday Coercion: An Exploration of Young Adults' Negotiations of Heterosexual Sex, Consent, and Normalised Male-Enacted Sexualised Violence." Thesis, Griffith University, 2021. http://hdl.handle.net/10072/408502.
Full textAbstract:
Sexual coercion has been used to describe tactics ranging from subtle, manipulative pressure to violent physical force, with more scholarly attention on the latter. This thesis shifts the focus to non-physically violent tactics of sexual coercion, normalised in heteronormative interactions by cultural narratives of lust and seduction. It examines ‘everyday’ experiences of hetero sex to identify the role male-enacted sexual coercion plays in sexualised interactions and intimacy. Globalised outcries, predominantly in western contexts, about the extensive reach of male-enacted sexual coercion and its role in rape contextualise this research in a broader social movement (e.g. #MeToo). Twenty young adults (thirteen women, seven men) were engaged in in-depth, qualitative interviews using a semi-structured, conversational approach to obtain empirical knowledge about how participants negotiated sexual activity, enacted or experienced nonphysically violent coercion, and understood consent. An arts-based methodology then transformed participants’ experiential data into creative non-fiction, connecting readers with the emotional dimension in the findings.
Within this research, both men and women demonstrated experiential knowledge of verbal, non-verbal, direct and indirect communication of consent (willingness) and non-consent (unwillingness), consistent with previous scholarship. This research substantiates previous research showing that non-instigating people not only employ refusals within normal conversational patterns, but regularly prestate boundaries, and assertively resist pressure. Coercion is employed despite clear signs of refusal. Thus, men are not the bumbling mis-communicators previous research has suggested; instead they are highly skilled communicators who employ a suite of effective tactics to manipulate and coerce all the while keeping within the bounds of normalised gender roles and sexual scripts. Suggestions that women should ‘just say no’ overlook the fact that men use coercion past the point of refusals. Refusing (whether verbally or non-verbally) is only effective if the instigator accepts it, indicating problematic attitudes and beliefs about gender and sex, rather than communication issues.
In exploring everyday coercion through the lens of consent as free and willing participation, rather than compliance or coerced agreement, this research understands rape as acts that occur past a point of non-consent. While this may sound straightforward in definition, participant responses highlighted that viewing an absence of affirmative consent as rape can be confronting and challenges their understanding of both ‘normal sex’ and ‘real rape’. Rape culture myths and victim-blaming narratives have normalised male-enacted pressure and persistence to a point that rape, particularly when enacted through tactics of everyday coercion, often goes unacknowledged. This research found that men are aware of the tactics they use to coerce women and some shared motives for using everyday coercion, such as homosocial bonding and patriarchal socialisation. While some men drew on essentialised notions of gender to defend their use of coercion, or performed naivety, there was significant corroboration between how women experienced sexual coercion and how men recall enacting it.
The thesis concludes that prevention of normalised sexualised violence must focus on the dismantling of patriarchal and binarised structures of gender, rape culture, and male entitlement alongside education about consent as willingness affirmatively given, free from coercion. This thesis promotes a sexual landscape in which women are understood as equally agentic within sexual exchanges and men, comfortable in their own masculinity and sexuality, are not encouraged to coerce unwanted sexual activity to assert patriarchal manhood. In this landscape people acknowledge and value both verbal and non-verbal refusals, genuinely invite communication about sexual boundaries, women and non-men’s pleasure is focused on in a way that decentralises penetration as the ‘main event’, and unwillingness to have sex is not responded to with coercion.<br>Thesis (PhD Doctorate)<br>Doctor of Philosophy (PhD)<br>School of Hum, Lang & Soc Sc<br>Arts, Education and Law<br>Full Text
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Miley, Linda. "White writing black : issues of authorship and authenticity in non-indigenous representations of Australian Aboriginal fictional characters." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16485/1/Linda_Miley_Thesis.pdf.
Full textAbstract:
This creative practice-led thesis is in two parts - a novella entitled Leaning into the Light and an exegesis dealing with issues for creative writers who are non-Indigenous engaging with Indigenous characters and inter-cultural relationships. The novella is based on a woman's tale of a cross cultural friendship and is set in a Queensland Cape York Aboriginal community over a period of fifteen years. Leaning into the Light is for the most part set in the late 1960s, and as such tracks some of the social and personal cost of colonisation through its depiction of Indigenous and non-Indigenous relationships within a Christian run mission. In short, Leaning into the Light creates an imaginary space of intercultural relationships that is nevertheless grounded in a particular experience of a 'real' place and time where Indigenous and non-Indigenous subjectivities collide and communicate.
The exegesis is principally concerned with issues of non-Indigenous representation of indigeneity, an area of enquiry and scholarship that is being increasingly theorized and debated in contemporary cultural and literary studies. In this field, two questions raised by Fee (in Ashcroft, Griffiths and Tiffin, 1995) are key concerns in the exegesis. How do we determine who is a member of the Aboriginal minority group, and can majority members speak for this minority? The intensification of interest around these issues follows a period of debate in the 1990s which in turn was spawned by the "unprecedented politicisation of {Australian} history" (Collins and Davis, 2004, p.5) following the important Mabo decision which overturned the "nation's founding doctrine of terra nullius" (ibid, p.2). These debates questioned whether or not non-Aboriginal authors could legitimately include Aboriginal themes and characters in their work (Huggins, 1994; Wheatley, 1994, Griffiths, et al in Tiffin and Lawson, 1994), and covered important political and ethical considerations, at the heart of which were issues of representation and authenticity. Moreover, there were concerns about non-Indigenous authors competing for important symbolic and publishing space with Indigenous authors. In the writing of Leaning into the Light, these issues became pivotal to the representation of character and situation and as such constitute the key points of analysis in the exegesis.
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Miley, Linda. "White writing black : issues of authorship and authenticity in non-indigenous representations of Australian Aboriginal fictional characters." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16485/.
Full textAbstract:
This creative practice-led thesis is in two parts - a novella entitled Leaning into the Light and an exegesis dealing with issues for creative writers who are non-Indigenous engaging with Indigenous characters and inter-cultural relationships. The novella is based on a woman's tale of a cross cultural friendship and is set in a Queensland Cape York Aboriginal community over a period of fifteen years. Leaning into the Light is for the most part set in the late 1960s, and as such tracks some of the social and personal cost of colonisation through its depiction of Indigenous and non-Indigenous relationships within a Christian run mission. In short, Leaning into the Light creates an imaginary space of intercultural relationships that is nevertheless grounded in a particular experience of a 'real' place and time where Indigenous and non-Indigenous subjectivities collide and communicate. The exegesis is principally concerned with issues of non-Indigenous representation of indigeneity, an area of enquiry and scholarship that is being increasingly theorized and debated in contemporary cultural and literary studies. In this field, two questions raised by Fee (in Ashcroft, Griffiths and Tiffin, 1995) are key concerns in the exegesis. How do we determine who is a member of the Aboriginal minority group, and can majority members speak for this minority? The intensification of interest around these issues follows a period of debate in the 1990s which in turn was spawned by the "unprecedented politicisation of {Australian} history" (Collins and Davis, 2004, p.5) following the important Mabo decision which overturned the "nation's founding doctrine of terra nullius" (ibid, p.2). These debates questioned whether or not non-Aboriginal authors could legitimately include Aboriginal themes and characters in their work (Huggins, 1994; Wheatley, 1994, Griffiths, et al in Tiffin and Lawson, 1994), and covered important political and ethical considerations, at the heart of which were issues of representation and authenticity. Moreover, there were concerns about non-Indigenous authors competing for important symbolic and publishing space with Indigenous authors. In the writing of Leaning into the Light, these issues became pivotal to the representation of character and situation and as such constitute the key points of analysis in the exegesis.