Thesis (Ph. D.)--University of Missouri-Columbia, 2000. / Typescript. Vita. Includes bibliographical references (leaves 210-211). Also available on the Internet.

This article sets out to explore the hermeneutical problems in the narrative therapeutic theory of Michael White by investigating his understanding of "story" within its interpretative context. In both White's interpretative approach and his “story" are inconsistencies rooted in a meta-theoretical tension based on his account of the autonomy of a person. This tension lies between the postulation of contingency and the pressure of stability. This is shown by testing the sustainability of White's therapeutic approach against the logical consistency of the underlying theoretical and philosophical foundation. The fundamental meta-theoretical tensions are brought to the fore by means of these contradictions. / Thesis (M.A. (Philosophy))--North-West University, Potchefstroom Campus, 2005.

This article sets out to explore the hermeneutical problems in the narrative therapeutic theory of Michael White by investigating his understanding of "story" within its interpretative context. In both White's interpretative approach and his “story" are inconsistencies rooted in a meta-theoretical tension based on his account of the autonomy of a person. This tension lies between the postulation of contingency and the pressure of stability. This is shown by testing the sustainability of White's therapeutic approach against the logical consistency of the underlying theoretical and philosophical foundation. The fundamental meta-theoretical tensions are brought to the fore by means of these contradictions. / Thesis (M.A. (Philosophy))--North-West University, Potchefstroom Campus, 2005.

Thesis (MA(Psychology))-University of Pretoria, 2006. / Includes bibliographical references.

Thesis (M.F.A.)--Rochester Institute of Technology, 1989. / Includes bibliographical references (p. 18-20).

Thesis (DD(Praktiese Teologie)--Universiteit van Pretoria, 2004. / Includes bibliographical references (p. 294-303)

Thesis (MA (Counselling Psychology))--University of Pretoria, 2003. / Includes bibliography.

Thesis (M.A.)--Miami University, Dept. of History, 2007. / Title from first page of PDF document. Includes bibliographical references (p. 57-63).

This thesis aims at defining the archival narrative from the discourse between archivists and historians writing on “archives as subject”. The objectives of this thesis are to identify and define the characteristics of archival narrative and to apply these characteristics to archival blogging. Qualitative and reflective, this research conducted a comprehensive and systematic literature review on “archives as subject” to produce a conceptual framework that defines archival narrative and its characteristics. A content analysis was also conducted to determine how the characteristics defining archival narrative are represented within archival blogs. The content analysis identifies, refines and defines the characteristics of archival narrative. As archives evolve in the digital world, social media and the demand for increased patron engagement, archivists’ must recognize their own expertise while sharing the characteristics of archival narrative. This will contribute to a more transparent and accountable archival profession.

Dès les premières pages, le Narrateur de la Recherche évoque la voix de sa mère lisant François le champi, pour le plus grand plaisir de l’enfant qu’il a été. Les traces d’une voix douce et enveloppante déposées par cette lecture liminaire, et maintes fois ravivées par la suite, mènent à s’interroger sur l’effet d’un texte soutenu par une voix et sur les liens possibles qu’elle entretient avec la voix narrative. En outre, les rapports riches et complexes que le héros nostalgique entretient avec les voix des autres personnages entrent dans de nombreux passages du récit, souvent abondamment commentés par le Narrateur. Cette étude porte donc sur l’objet tant thématique que poétique constitué par la voix dans la Recherche. On s’est déjà intéressé aux formes d’insatisfaction que suscitent les voix émanant d’un univers où toute chose échappe à qui veut la saisir. Mais on a aussi considéré les dispositifs permettant au héros d’atteindre à une certaine plénitude dans l’écoute vocale, jusqu’à la synesthésie et l’accueil d’un au-delà de la voix à traduire, source d’inspiration littéraire. On s’est en outre penché sur les modalités de l’expérience qu’a de la voix un héros-Narrateur marqué par l’hyperesthésie auditive : s’il fait résonner en lui les voix aimées qui le ravissent, celles qui l’enjoignent brutalement à se conformer le persécutent, en menaçant son génie personnel. On a ainsi été mené à considérer l’écriture de la Recherche comme un geste qui, rendant compte de l’échange oral, le réduit au silence, la voix n’apparaissant dans le roman qu’à travers la sonorisation du texte. / From its very first pages, the narrator of Remembrance of Things Past evokes the voice of his mother as she reads François le Champi, to the great pleasure of the child still within. The vestiges of the enveloping, soft voice left by this initial reading, which will reappear at many points in the text, lead us to question the effect of a text carried by such a voice as well as its connection with that of the narration. The rich and complex relationship that the nostalgic hero maintains with other characters' voices also comes into play, frequently commented on by the Narrator. This study therefore looks at the voice in Remembrance both from a thematic and poetic standpoint. We have already looked at the various forms of dissatisfaction engendered by a universe that continually flees those seeking to comprehend it. But we have also considered the devices permitting the hero to achieve a sense of fullness through listening, including the synesthesia and reception of an untranslated otherworldly voice, source of literary inspiration. We have alsoexamined the experiential modalities of the voice belonging to a hero-Narrator marked by auditive hyperesthesia : whether he allows to resonate within him the voices he adores, those which persecute him by brutally insisting on his conformity, thereby threatening his genius. This leads as well to a consideration of the writing of Remembrance as an act which, while incorporating the oral exchange, reduces it to silence, the voice appearing in the text solely through the latter's sound amplification.