This article considers the impact of new technologies on the adolescent experience of live, literary theatre. Drawing together the work of theorists in literacies, new technologies and audience studies, together with brain research, and the results of a focus group of four secondary students who have seen four plays at Canada’s National Arts Centre, it examines the consequences of young people’s immersion in digital culture and the new mindset that often results. The expectation of instant access to data, inter-connectivity, stimulation and control can make it difficult for adolescents to decode the metaphorical aspects of a theatrical performance. The article concludes that language arts and dramatic arts educators have a key role in teaching students how to decode—and therefore enjoy and appreciate— a play.

Narrative inquiry provides an opportunity to humanize the human sciences, placing people, meaning, and personal identity at the center of research, inviting the development of reflexive, relational, dialogic, and interpretive methodologies, and drawing attention to the need to focus not only on the actual but also on the possible and the good. In this chapter, we focus on the intellectual, existential, empirical, and pragmatic development of the turn toward narrative. We trace the rise of narrative inquiry as it evolved in the aftermath of the crisis of representation in the social sciences. The chapter synthesizes the changing methodological orientations of qualitative researchers associated with narrative inquiry as well as their ethical commitments. In the second half of the chapter, our focus shifts to the divergent standpoints of small-story and big-story researchers; the differences between narrative analysis and narratives under analysis; and narrative practices that seek to help people form better relationships, overcome oppressive canonical identities, amplify or reclaim moral agency, and cope better with contingencies and difficulties experienced over the life course. We anticipate that narrative inquiry will continue to situate itself within an intermediate zone between art and science, healing and research, self and others, subjectivity and objectivity, and theories and stories.

This thesis seeks to explore how humanitarian communication produces subjectivities for individuals. More specifically, it investigates how the innocent modern/colonial humanitarian subject is produced through appeals to emotions. To explore this phenomenon, this thesis develops a decolonial research approach grounded in epistemic disobedience. As such, it first disrupts the binary between rationality and emotions by focusing on the roles of compassion, anger and guilt in the making of the innocent humanitarian subject. Second, it presents autoethnography and storytelling as entry doors into disobeying the binary between subject and object of research. The analysis of the autoethnography is presented in different modes of analysis, between creative and more traditional social science writings. The analysis shows that guilt and knowledge permit to partially defeat the stance of innocence produced by humanitarian communication. Additionally, by recentring racism and European colonialism/imperialism as central to the study of humanitarianism, this thesis demonstrates the importance of adopting decolonial research strategies to defeat persisting structures of inequality.

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