Дисертації з теми "Creative writing research"
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1
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.
Повний текст джерела
2
Boyd, Nicola Mary. "Strang Loops and Confessions: In Search of a Creative Writing Research Methodology and AI PI: A Novel." Thesis, Griffith University, 2010. http://hdl.handle.net/10072/367955.
Повний текст джерелаАнотація:
The journey through the exegesis and creative work, discourse on the nature of the exegesis, and an examination of awarded PhD and DCA creative theses, leads to the idea of modelling the relationship between the exegesis and the novel. This idea is taken further to explore the relationship between the writer, creative work and readership; the journey within the chasm that opens between original drafts of a novel and the complete re-writing of the novel; and the possibilities of providing a framework to help other postgraduates conceptualise, explain, model and map their own creative theses.
I explore in this exegesis the possibility of drawing together all methods currently used into one methodological framework. To do this, we need a language – a system of understandings – to communicate our methodologies. It is this I am trying to achieve in this dissertation, by searching for a concept of a flexible or hybrid model and seeking a metaphor for that model, a language to map the creative/academic process of making.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities
Arts, Education and Law
Full Text
3
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.
Повний текст джерелаАнотація:
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.
4
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.
Повний текст джерелаАнотація:
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.
5
Simon, Gail. "Writing (as) systemic practice." Thesis, University of Bedfordshire, 2011. http://hdl.handle.net/10547/223012.
Повний текст джерелаАнотація:
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.
6
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.
Повний текст джерелаАнотація:
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.
7
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/.
Повний текст джерелаАнотація:
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.
8
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.
Повний текст джерелаАнотація:
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.
9
Baker, Dallas John. "(Re)Scripting the Self: Subjectivity, Creative and Critical Practice and the Pedagogy of Writing." Thesis, Griffith University, 2012. http://hdl.handle.net/10072/368123.
Повний текст джерелаАнотація:
This PhD research focuses on Queer Theory and its application to subjectivity in the
contexts of creative practice, Practice-Led Research (PLR) and Creative Writing
pedagogy. One of the principal concerns of the project is how a queered PLR might
foreground subjectivity as a practice in itself and view both creative practice and
critical research as components in an “ethics of the self” (Foucault 1978) or “selfbricolage”
(Rabinow 1997).
In this context, creative practice is conceived as an intervention into subjectivity and
creative works are framed as artefacts that both document this interventional process
and express or disseminate new subjectivities arising from that process. In a similar
vein, research in the Creative Arts is seen as a performative act that includes affect
(produced through engagement with both creative and critical texts) as a form of
knowledge. As with creative practice, this kind of research informs the ongoing
constitution of subjectivity.
The research project also explores the notion of effeminacy as a liminal masculinity of
considerable discursive potency that simultaneously disrupts both masculinity and
femininity. This exploration is undertaken in relation to the Southern Gothic genre of
literature, cinema and television.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities
Arts, Education and Law
Full Text
10
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/.
Повний текст джерелаАнотація:
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.
11
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.
Повний текст джерелаАнотація:
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.
12
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.
Повний текст джерелаАнотація:
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.
13
Strydom, Gideon Louwrens. "Saligia." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1020884.
Повний текст джерелаАнотація:
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.
14
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/.
Повний текст джерелаАнотація:
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.
15
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.
Повний текст джерелаАнотація:
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.
16
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.
Повний текст джерелаАнотація:
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.
17
Beyers, Marike. "How to open the door." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1011502.
Повний текст джерелаАнотація:
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
18
Vivier, Lincky Elmé. "One leg at a time." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1012945.
Повний текст джерелаАнотація:
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.
19
Bila, Freddy Vonani. "Grieving forests." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1020880.
Повний текст джерелаАнотація:
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.
20
Bamjee, Saaleha. "My grandmother breaks her hip." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1020881.
Повний текст джерелаАнотація:
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.
21
Thomas, Adèle. "Copycat." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1012984.
Повний текст джерелаАнотація:
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.
22
Sutherns, Michael Courtney. "Sarkaiym." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1012998.
Повний текст джерелаАнотація:
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.
23
Thurgood, Mikaila Rae. "Secrets I keep." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1015638.
Повний текст джерелаАнотація:
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.
24
Mokae, Sabata Paul. "Kedibone." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1020883.
Повний текст джерелаАнотація:
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.
25
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерела
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Singh, Anirood. "Road to redemption." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1013035.
Повний текст джерелаАнотація:
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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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.
Повний текст джерелаАнотація:
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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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.
Повний текст джерелаАнотація:
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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Adji, Alberta Natasia. "The fragmented self the longing (novel) and intergenerational relations in a Chinese Indonesian family (exegesis)." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2023. https://ro.ecu.edu.au/theses/2670.
Повний текст джерелаАнотація:
This creative arts–based thesis consists of two parts, a generational novel, “The longing”, and an accompanying essay, “Intergenerational Relations”. The novel is set in Indonesia over several decades from the 1950s to the Reformasi era in the 2010s, covering the 1965 Communist Purge, Suharto’s New Order (1966-1988) and the May 1998 Riots. It depicts various experiences and challenges of Chinese characters, such as, arranged and intercultural marriages, financial stress, domestic violence, physical and mental ill-health, child-rearing, business- and career-building, state-sponsored violence, and religious and cultural marginalisation. The novel draws on data from diverse sources, including family stories, personal observations, diary entries, memories, and historical and literary works. It aims to convey dynamic and complex experiences of three related and enterprising Chinese women living in a predominantly Javanese Muslim country. Dido, a woman in her twenties and the novel’s narrator, has Chinese and Javanese parentage. She is a diarist and documentary filmmaker who tells stories about her own upbringing, work and relationships; about her grandmother, Ah Lam, who establishes a restaurant to provide for her family; and about her mother, Ming Zhu, an accomplished pianist who marries a Javanese man and converts from Catholicism to Islam. My depictions of the women and their relationships, while necessarily imagined and partly fictitious, also draw substantively on my family’s lived experiences. The novel’s title, “The longing”, refers to Chinese Indonesians’ aspiration to be acknowledged as a permanent community within the Indonesian population.
The essay discusses creative arts–based research and the cyclical connection between practice-led and research-led methods that guided and sustained the fictionalising process. It also discusses my choices of narrative inquiry and intersectional feminism as methodological and theoretical approaches that assist the aim of the thesis to illuminate ethnic tensions and marginalised perspectives while promoting diversity, acceptance and unity. Among various literary, theoretical and historical sources discussed in the essay, I point to the influence of Chandra Talpade Mohanty’s Third World Women and the Politics of Feminism and my insider authorial position as a middle-class Christian Chinese Indonesian woman. The essay also explains that choosing autofictional literary techniques for “The longing”, such as employing an autodiegetic narrator who uses first- and third-person limited narration and past and present tenses to tell my family stories – but whose heritage, work and romantic life differ from my own—served not only thematic and dramatic ends but also aided the creative writing process over multiple drafts by generating necessary distance between my own and my characters’ experiences, including of ethnicity-based rejection.
The essay contends that Chinese women’s roles in running households and becoming breadwinners and cultural negotiators during periods of increased anti-Chinese sentiment have been explored by only a few writers. Using creative writing, narrative inquiry, intersectional feminism, and historical and literary investigation, the thesis creates new knowledge and understandings about Chinese Indonesians.
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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.
Повний текст джерелаАнотація:
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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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.
Повний текст джерелаАнотація:
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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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.
Повний текст джерелаАнотація:
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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Majola, Fundile Lawrence. "Good-Gooder-Goodest." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1015657.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерела
43
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.
Повний текст джерелаАнотація:
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.
44
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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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TSENG, YU-CHIN, and 曾于衿. "A Creative Research of linear writing." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/gk9mww.
Повний текст джерелаАнотація:
碩士國立臺南大學
視覺藝術與設計學系碩士班
107
ABSTRACT This research is to explore the correlation between lines and emotions in the approach of linear writing. The motivation behind this study comes from the author's personal experiences of keeping records and expressing her personal emotions and mental status through lines in her production of artistic works in different stages of life. This research analyzes the author’s artistic line arts from the theoretic aspects of sensibility, linear expression and subconsciousness so as to discover how her emotions affected her works while she was proceeding her creative line art, what kind of forms the lines were adopted to express her feelings in her pieces of art and whether personal subconsciousness was revealed through artistic intuitive creation. There are five chapters in this essay. Chapter One is Introduction, talking about the motif, the purpose, the approaches, the range and the structures of this research. Chapter Two is Arts Theories, studying and exploring the theories of Aesthetic Perceptual Intuition, Linear Painting in Art History, and subsciousness Theory, Chapter Three is the approach of linear writing to the artistic forms and contents of the writer’s art work – analyzing how the forms of lines in her art works express various aspects of her emotions based on and corresponding with the concepts acquired in Chapter Two.Chapter Four is the analysis of the writer’s art work, focusing on the detailed analysis of forms and contents of her art works in different stages of her life. Chapter Five is Conclusion, intergrading and reflecting on the conclusive concepts and resulting findings in this research in order to provide guidance and new direction for the writer’s artistic creativities in the future. Key words: abstract, linear, Perceptual Intuition, Subconsciousness
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Li, Huang-Yu, and 李晃宇. "Yuguang Island Image Diary and Writing Creative Research." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/56174027458321728033.
Повний текст джерелаАнотація:
碩士崑山科技大學
視覺傳達設計研究所
105
The research topic involves image diary of Yuguang Island and written records. The natural environment of the island was set as the site of observation to record new discoveries, such as ongoing events and the things I have seen, smelt, and heard, into images and words. During the in-depth participatory observation, profound understanding of the island was attained. I perceptually experienced and interacted with the environment and obtained spiritual comfort and dependence. While I enjoyed the beauty of nature, I also found that the environment was under destruction. The image records and personal life experiences were used to create image works. The moments on the Yuguang Island was documented through photographs to present a series of image stories. Internal thoughts were described through texts. During the creation process, I became emotionally linked to the environment and recalled my childhood memory about the ocean, recapturing a long-forgotten feeling. In order to sustain the beauty of the Yuguang Island, I hope to invest my efforts, learning about and feeling the local things and objects through physical experiences. Out of my limited power on protecting and sustaining the island, as well as my goodwill toward the island, I dedicate myself to help maintain the beautiful island environment in an attempt to solve local environmental issues.
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Sun, Liang-Pi, and 孫良璧. "An Action Research on the Instruction of Creative Thinking Writing." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/14310534504997566964.
Повний текст джерелаАнотація:
碩士國立臺灣師範大學
創造力發展碩士在職專班
99
The purpose of this study is to explore how to employ the creative thinking instruction to writing, and how effective the creative thinking writing instruction is to elementary school students. In the meantime, the study also tries to understand what teachers learn in the course of applying the method of instruction. Employing the action research, the five-month study targeted at a class of 5th grade students at one of elementary schools in Taipei City. The creative thinking writing courses are divided into five key elements-- with each element designed to take 120 minutes to complete. Through the process of action research, findings and subsequent discussions, major conclusions of the study are as follows: 1) Creative thinking writing instruction increases students’ interest in writing. 2) The creative thinking strategies developed in the study help students design the framework and content of writing. 3) After receiving instruction, the number of words in writing among students significantly increases. 4) Through the process of teaching, the researcher further elevates his own professional skills and personal growth, which include areas of teaching capability, developing strategies of teaching writing, helping identify the writing problems encountered by students and assist teachers to think over how to hone their teaching skills . Based on the finding and conclusions in the study, some suggestions are made to help teachers who intend to practice the creative thinking writing instruction to consider or further research.
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Gannon, Susanne Marie. "Flesh and the text: poststructural theory and writing research." Thesis, 2003. https://researchonline.jcu.edu.au/1201/1/01front.pdf.
Повний текст джерелаАнотація:
This thesis is an analysis and practice of writing otherwise in academia. It takes off from Barthes’ claim that “Science will become literature” (1989, p. 10) into a labyrinth of writing in different contexts and genres. In local and specific writing contexts, the author contrasts (social) scientific analytical writing with poetic, dramatic and autoethnographic writing to begin to generate theories about how different types of writing might work differently to construct different knowledges. Data from collective biography projects is re-presented as poetry and as a theatre script. Data from a professional development context becomes the launch pad for autoethnography. Sections of “creative” or “literary” writing are interspersed with theoretical and methodological analysis. The research methodologies of collective biography/ memorywork and autoethnography are interrogated in the light of poststructural theories on language. Poetry and drama are analysed as poststructural research and writing methodologies. The thesis is a risky journey into transgressive writing research. The linear narratives of research are disrupted as the thesis is organized as a series of detours into writing towards a conclusion that stresses the (im)possibilities of conclusions.
Particular lines of flight through this thesis are the subject, the body and the other in writing. Poststructural perspectives on subjects emphasise their positionality (Foucault, 1972) and their mobility (Ferguson, 1993). Subjects are produced in particular spaces, places and times (Probyn, 2003) and this thesis attends to subjects-in-process in particular writing (con)texts. Writing is both the site and the practice of research. The body is pivotal in this thesis. All the texts produced in this thesis attend explicitly to the (female) body. The methodologies of collective biography/ memorywork (Davies et al., 2001; Haug, 1987), which provoked the poetic and dramatic writing in this thesis, begin with the body as the locus of knowledge. The particular research sites and texts of this thesis have given an overtly feminist cast to this textual body. My research colleagues have almost all been women and it is women’s embodied experiences that have been of interest to us. Research sites have ranged from Germany (where I was part of Project Area Body of the Internationale Frauenuniversität in 2000), to a community theatre company in my town, to a writing group around my kitchen table. The “other” is the third line of flight in this thesis and I use the concept of the other to trace how the writing in this thesis has been a collaborative practice, and an ethical practice where writing the other (otherwise) might be seen as a practice of love (Cixous, 1991; Somerville, 1999).