No description available.

There are two distinct but related parts to this exegesis. Firstly there is the production of a fifty-five minute documentary Return of the Trojan Horse, and secondly a written exegesis. The latter advances an academic argument centred around the research question - how to motivate the role of the expository documentary at a time when the documentary field is dominated by the debate between philosophical scepticism and empirical realism, while in aesthetic terms, the documentary mode itself is led by perfomative/interactive documentaries such as Michael Moore's Bowling for Columbine. My response to this question is informed in theoretical terms by the Critical Realist paradigm. The use of Critical Realism enables the exegesis to supply an integrated approach which seeks to transcend both the sceptical and the empirical realist positions. In doing so, the exegesis makes a contribution both to documentary theory and the Critical Realist paradigm itself by applying it to the field of documentary film theory. As such the exegesis addresses an absence of aesthetic theorising within the Critical Realist paradigm. As part of the process I review, analyse and synthesise the key theoretical arguments of authors Bill Nichols, Michael Renov, Brian Winston, John Corner and Noel Carroll. The documentary sub-genres are then located within the context of these theoretical debates while the emphasis is placed on the expository sub-genre as utilised in my own documentary film, Return of the Trojan Horse. The exegesis then critically discusses Return of the Trojan Horse from a Critical Realist perspective and reflects on the strategies involved in the production of the film. As the topic of the film deals with the negative impacts of economic liberalisation, the mass media is briefly discussed within the context of a deregulated market and right-wing politics, while reviewing Herman and Chomsky's 'A Propaganda Model' in Manufacturing Consent: The Political Economy of the Mass Media, 2002.

Storytelling: circles and straight lines is a qualitative, retrospective analysis of my thesis (a collection of iconoclastic New Zealand short stories, entitled In Transit), in which I define the scope of my creative work by: positioning my approach within the wider contemporary and literary contexts; explaining its conceptual framework; and describing my intention and process. To these ends, I have drawn extensively on my personal experience, accumulated knowledge, and orientation, supplemented by wide reading. Throughout the text, I substantiate my views, arguments and conclusions with reference to noted writers, critics, language experts, and philosophers.

The work is situated in a literary and theoretical context by working with the concepts of authenticity and realism, and within that the story/world distinction. The literary context is examined in terms of realism, naturalism, and the novel of character or psychological novel. The associated research is then discussed. Finally, the novel’s societal context is analysed in terms of some prevailing philosophical views and the existing socio-political structure.

This thesis introduces three emerging Australian playwrights, Lally Katz, Ben Ellis and Kit Lazaroo, who are interrogating the politics of culture, identity and gender through the application of magic realism to theatre. This thesis contends that magic realist theatre offers a public site for the cultural mediation of binaries: self and other, margin and centre, life and death, western and non-western, pragmatic and spiritual. Australia, because of its history, geographical location and cultural positioning provides a fascinating case study.

Storytelling: circles and straight lines is a qualitative, retrospective analysis of my thesis (a collection of iconoclastic New Zealand short stories, entitled In Transit), in which I define the scope of my creative work by: positioning my approach within the wider contemporary and literary contexts; explaining its conceptual framework; and describing my intention and process. To these ends, I have drawn extensively on my personal experience, accumulated knowledge, and orientation, supplemented by wide reading. Throughout the text, I substantiate my views, arguments and conclusions with reference to noted writers, critics, language experts, and philosophers.

One of the most interesting developments in recent psychological theorising has been a growing appreciation of the need for a viable theory of mental causation. Hitherto, the prospects for reconciling what seems to be the uniquely rational character of human thought and action with the non-rational mechanistic workings of the natural world have appeared to be limited or even illusory, and the pursuit of reconciliation of this sort has therefore formerly been dismissed as being either impossible of completion or inappropriate for contemplation. Much of the scepticism concerning the role of causal processes in human thought and action was dispelled, however, by the philosopher Donald Davidson, who argues that not only is human action capable of being caused by the actor�s thoughts and desires, but that only when such action is so caused, can it be rational. Davidson�s proposal for the reconciliation of human rationality with causal necessitation is articulated in his theory of Anomalous Monism. According to this theory, there exists what may be termed an ontological-conceptual distinction between events themselves and the characters or properties that are attributed to events by human observers, and it is through recognition of this distinction that one discovers how mental events, that is, events that are amenable to description in the psychological vocabulary, are causally efficacious yet free from the constraints typically associated with the necessity and sufficiency of causal laws. Anomalous Monism, if it were workable, would therefore resolve the paradox according to which human mentality is at once integrated in, and yet unconstrained by, the mechanistic natural world, by demonstrating the compatibility of the facts of causation with the intuitions of folk psychology. However, close examination of Anomalous Monism reveals it to rely on logically flawed anti-realist principles concerning the characters of events, properties and causation. It follows from this that the theory itself must be rejected, but the task that it was devised to undertake, the formulation of a viable theory of mental causation, need not be similarly discarded. Rather, what remains is the challenge of delineating an alternative theory, one that withstands logical scrutiny whilst addressing what is characteristic of human mental processes, and thereby what is characteristic of mental causation. The theory of Direct Realism that is derived from the broader philosophical realism of John Anderson provides the materials for meeting this challenge. According to Direct Realism, mental phenomena are relational situations obtaining between certain organisms (including humans) and their environments. As such, mental phenomena are included in the range of phenomena occurring in the natural world and they are therefore subject to all of its ways of working, including its deterministic mechanisms. The particular challenge that a Direct Realist theory of mental causation faces, that of demonstrating that relational situations can be causal, is revealed upon examination of the character of causation to be unproblematic. Furthermore, the seeming incompatibility between human rationality and natural necessitation is resolved when it is acknowledged that, rather than be an inherent feature of thought and action, logical structure is a characteristic of the natural environment that organisms are at times sensitive to, as revealed by its effects on the characters of their thoughts and actions. Far from being remote or illusory, the prospects for reconciling human mentality with the causal mechanisms of the natural world are discovered in the present thesis to be favourable when a realist approach to the characters of both mental events and causation is adopted.

The work is situated in a literary and theoretical context by working with the concepts of authenticity and realism, and within that the story/world distinction. The literary context is examined in terms of realism, naturalism, and the novel of character or psychological novel. The associated research is then discussed. Finally, the novel’s societal context is analysed in terms of some prevailing philosophical views and the existing socio-political structure.

The work is situated in a literary and theoretical context by working with the concepts of authenticity and realism, and within that the story/world distinction. The literary context is examined in terms of realism, naturalism, and the novel of character or psychological novel. The associated research is then discussed. Finally, the novel’s societal context is analysed in terms of some prevailing philosophical views and the existing socio-political structure.

Thesis (Ph. D.)--Ohio State University, 2008.